kazys's blog

muzak needed

In case you missed it, there was a harrowing story about a man who was stuck in an elevator for forty-one hours in the New Yorker accompanied by security camera video of his ordeal. See here

 

on research, cell phones, and the anthropological model

I'm behind again. The Infrastructural City is back in my lap for more finishing touches on the design so I've been working on that fiercely. One day you'll forgive me. I've also been working on new plans, which will be announced in detail here soon. Interested in a research-based internship on telecommunications and urban life over the summer?* Contact me. 

A week ago the New York Times carried this lengthy article "Can the Cellphone Help End Global Poverty?" focusing on Nokia researcher Jan Chipchase. Jan certainly seems like a fascinating figure doing real important work and I'd love to meet him one day. If you haven't read the article, go do so, now. 

The article also points toward a question I've been wanting to raise for a while: why is anthropology such a dominant model for apprehending contemporary culture? To be sure, anthropologists have long been an avant-garde of research, going out to study the unknown, their work sometimes applied for imperialist or corporate purposes. Anthropology's focus on the individual has also led to a political concern with preserving existing ways of life against the encroachments of top-down power and toward supporting everyday culture. More recently, anthropology has informed some of the best work in science and technology studies, demonstrating the radical transformations in life that are taking place today.

But anthropology is only one mode of understanding behavior and societal change. Sociology is another and has reacted in its own way, most notably by developing social network theory to deal with the vast changes in interpersonal relationships happening as these are maintained beyond simple propinquity.

What of history? To return to last week's theme, why is it that historians have ceded their need to understand the contemporary world to other disciplines? Where is the historiographic innovation needed to understand the contemporary? When will we begin the work on the theories of history necessary for understanding our world?  

This is not a complaint against other disciplines but rather one against my own. Other fields have responded to the changes in the world around us. History is a laggard.

For all of its departures from traditional method, Blue Monday was a first attempt to deal with these conditions from a historical perspective. Watch this space for more. 

 

 

* Disclaimer: Academe, I'm afraid, is a bit of a Franciscan venture or at least such has been my experience. Alas, we don't have any funding, but working at Studio-X is certainly cheaper than going to school and unlike a typical architect's office, I give my interns full credit on work they do and a lot of independence.

 

back at studio-x

I'm back at my home base at Columbia's Studio-X in Soho.

It's a fantastic place from which to examine the city.

  

 

lev's blog

My good friend Lev has a blog now.

See databeautiful.net

 

a historian's manifesto

Last fall Mark Jarzombek sent me his Anti-Pragmatic Manifesto. To me the most critical passage of that insightful piece read as follows:

I predict a new fascination with carelessness, a new tolerance for “whatever” in a “whatever generation” - an architecture that prides itself on neither history nor theory, to put it bluntly. This generation will take over the mantel of the “avant-garde,” and demand that it vacuate itself of purpose and thought.  

At the time Mark asked if I might respond with my own assessment of the status of the discipline of history in architecture. It's been all too long, but here goes. 

I wish I could somehow be optimistic about the state of history, but I'm afraid that I can't be. History is already in a dire condition in the discipline and, as Mark suggests above, may soon wind up even worse off. 

So much of network culture seems to involve the shutting down of institutions created in the Enlightenment: the public sphere seems to have transformed into micro-clusters and micro-constituencies, newspapers are in free-fall collapse, the novel is giving way to a new fascination with realism, traditional markers of distinction seem obsolete. Perhaps then it should be no different for history.

Especially after Hegel, history operated under the principle of historicism, suggesting that an understanding of the past could be a guide for the present day. Whatever we may think about its problems, this gave a purpose to history writing (Manfredo Tafuri referred to this as "operative criticism"), making history vital and real for generations. For architects, key texts such as Nikolaus Pevsner's Pioneers of the Modern Movement or Siegfried Giedion's Space, Time, and Architecture grounded the present in the past.

Teleological in nature, such texts came under justifiable criticism from younger scholars, often bringing with them the anti-historicist methods developed by Karl Popper. But a second, perhaps more modernist meaning to historicism saved history at this point. This new history pointed to the past to suggest appropriate ways of operating within one's own time. Thus, the work of Palladio would be valued as an example of an architect who engaged with the forces around him and wrestled his structures out of that condition while the work of the Futurists could be resurrected in order to prove how banal modernism had become.

This form of historicism had an enemy: postmodernism. When I first went to school, the best historians argued that their work was a bulwark against postmodernism, that a modern approach was still the only appropriate response to the time. Postmodernism, which merely revived antiquated forms, was nothing more than a zombie form of architecture, misunderstanding the work of earlier architects, misusing it, and thereby threatening the legitimacy of the discipline. 

Soon after came the theory wars. As some theorists argued that history was outdated, now the best historians (Mark among them) argued that theory and history were deeply intertwined and that one should both historicize theory and theorize history. Slowly, history and theory reached a rapprochement.

Alas, this was just in time for the rise of computation. In a prescient text in 1992 entitled "Has Theory Displaced History as a Generator of Ideas for Use in the Architectural Studio, or (More Importantly), Why Do Studio Critics Continuously Displace Service Course Specialists?" Stanley Tigerman predicted that as architects began to dabble in history (as a consequence of postmodernism) and, thereafter theory, specialists in history and theory would be displaced from architectural education by more flexible personas who could also teach studio and the all-important new service courses in digital technologies.  

As this happened, historians began to reintrench into their own professional roles. Newly read in critical theory and particularly concerned about the dangers of operative criticism (as this of course could be so easily replaced by practitioners dabbling in theory). Thus empowered, historians turned back to the old process of academic distinction and discipline. No longer would history make pronouncements about the present. Instead, as Ph.D. programs were founded left and right (just what people would do with all these dissertations is a mystery to this writer, who sat jobless for two years in the mid-90s…maybe two or three programs are necessary at most in the entire country), historians turned toward research that would often be tangentially relevant. The handful of historians who did otherwise, can, I'm afraid, be counted on just a few fingers. 

Having turned to purposeful irrelevance, history now finds itself facing death by a thousands cuts. One course here, one course there. As the demands of accreditation grow, history slowly finds itself squeezed into a narrower and narrower slot in the curriculum. 

Simply put, this is a disaster. Our time would make the most bold of Futurists proud. We have little capacity for understanding historically anymore or even for understanding how others understood their times and reacted to their histories. 

I recently asked a historian about why we don't periodize anymore, he basically laughed at me, suggesting that I was naive for asking such a dumb question…after all, we all know periodization is bad, right. But is it? Mark calls for a reinvigoration of a Utopian imagination in architecture. Well what about a similar spirit in history? How about putting away our microhistories for a minute and making broad claims about culture, not just in the past, but today?

I recently observed that there were no more common texts in architecture. Ibelings' Supermodernism was the last one. And if the students and I found flaws in his argument sitting around the table in seminars at SCI_Arc (wasn't that our job after all?), we still recognized it as keenly intelligent, an attempt to explain the architecture and urbanism of that day historically. Operative criticism it was, but it was still a crucial historical argument, a signpost in a foggy field. And if it is outmoded today due to developments in telecommunications, that's fine too. Such is the nature of these kind of projects.

But wait, there are no more signposts in our foggy field. Just fog. And we continue to hurtle through it at breakneck speed. This is not a good condition and with the building boom about to implode, we seem likely to run into a massive pile of debris.  

So let's be naïve. Let's risk our careers. Let's make broad, sweeping observations. Let's make mistakes. Historians need to think big. They need to take stances and even condemn where such a condemnation is due. 

The alternative is more and more about less and less, until finally the accreditors and the administrators pull the plug on our life support system. And at that point, it seems to me, they will have done the right thing.  

houston

 clouds above houston

houston suburbs

Climbed out of the sky to a warm evening in Houston. I am speaking at the University of Houston on Thursday at 3pm in the Gerald D. Hines College of Architecture. If you're in town, I'd love to have you come for a listen.  

The End of the Empress Alamonda

At the New York Review of Books, Nicholson Baker examines the Charms of Wikipedia and raises concerns not about spurious information—something easily corrected—but about the deletion of entire articles by various individuals and groups. 

 

where did the books go?

I left design is dead on for quite a while, long enough that many of you might wonder if I myself was dead…in fact, i was in Ireland for most of the week and just got back. So, on a related note… just what has happened to books in architecture studios? For virtually all of modernist education, one or two key texts could always be found on students desks, from the modernist standards—Towards a New Architecture,  Space, Time and Architecture, The International Style—to the key texts of the 70s and the early 80s—Five Architects and Complexity and Contradiction—into 1990s—Supermodernism*, S, M, L, XL, and perhaps Move and Animate Form. But what's on student desks today? I've asked students and faculty around Columbia and in other schools as well. Nobody has thus far identified any texts that could act as a common basis of knowledge in the studio. Why is this? What does it mean? Is there any relation to my gloomy prognosis for design

*I'm hoping to have a surprise dialogue about Supermodernism on these pages soon.

 

Design is Dead

Via Kottke.org and PSFK Philippe Starck announces that design is dead and he is retiring. Long an advocate of immaterial culture, Starck confessed to Die Zeit "I was a producer of materiality and I am ashamed of this fact." "Everything I designed was unnecessary. … design is a dreadful form of expression."

This is building toward another post that I've been hoping to make, which is to bring together my review of Clay Shirky's Here Comes Everybody with the MoMA Design and the Elastic Mind show. Just as we seem to have more faith in design than ever, just as design seems to be exploding, we are also faced with a culture for which design (as conventionally practiced) is simply not appropriate anymore. 

More later…developing.

 

greatest hits

When I resurrected this blog in May of 2005, I turned to Drupal because I wanted to have a content management system that could handle more than just blogging. Even if the learning curve was steep initially, Drupal has proven to be the correct choice. I built sites for Networked Publics, the Los Angeles Forum for Architecture and Urban Design, DOCOMOMO-US, AUDC, the Netlab, and even for my espresso maker on Drupal installs. As the CMS has evolved, it's become possible to handle custom databases and to produce all manner of content that is different from your usual blog. 

Today I'm introducing a new page that simply keeps track of the most popular content on the site. See it here. Not a bad place to start if you're new to varnelis.net. 

 

 

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