design

on architects Web sites

Susan sends us a public service message from treehugger: "Architects: Your Web Sites Suck." Oh yes, they do!

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.

 

superbrutalism: a case study

The thesis that Robert Sumrell did at SCI_Arc in fall of 2000 on "Superbrutalism" still stuns me years later. 

It began AUDC.

braun record player

 

2008: the year that blogs stop looking like blogs?

Looks like I wasn't the only one to rethink the way their site looks: Régine Debatty's wonderful We Make Money Not Art had a radical redesign yesterday. As with my redesign, the goal seems to be to have non-RSS visitors have a cleaner experience, eliminating the endless blog-scroll-of-death.   

In Régine's case, she's kept an overview page with multiple stories but reduced the "teasers" on these to little more than images (how will she deal with entries that have no images, I wonder?) while the entries sit by themselves, much as my entries do. Its nice to see a continuity with the existing site and the search bar as title bar is fabulous. I'm surprised to see that such a radical redesign is possible within Movable Type, kudos to Régine and her designer.  

Then there's Brett Steele's redesign of his site. Brett's abandoned his old resarch.net site and now has brettsteele.net an interesting Wordpress-driven site that he hopes reminds us of the New Yorker and the Economist. Brett's design freely mixes his blog with announcements about his appearances, what he's reading, the classes he's teaching and so on.    

Over at aggregät 4/5/6, Enrique is experimenting with different platforms as well.

seven for 2007

It's time to take one last look back at 2007. For AUDC, the Netlab, and myself it was a great year, as AUDC's Blue Monday hit the bookstores and as the Netlab brought two books—the Infrastructural City: Networked Ecologies in Los Angeles and Networked Publics—to press. The latter contains my conclusion on the Rise of Network Culture, a text that I ambitiously crafted as being one of the first attempts to periodize this moment. The reaction to it has been incredibly favorable and I look forward to seeing what people have to say when it hits print this fall. In other news, the Netlab began working at Columbia's Studio-X space in Soho as I spent more time blogging on this site than I have in a while.

But what about the wider world? What were the trends that struck me as significant this year in architecture and network culture? This list may strike someone who isn't familiar with varnelis.net as Borgesian, but remember that the Netlab's mission is to study the impact of digital technologies together with electronic and social networks on architecture and the city. These developments have a critical impact on the field: how (or whether) we choose to understand them is key.

Many of these are end-game scenarios, but this shouldn't be surprising if the rise of network culture obsoletes earlier sociocultural forms.

1. The Decline of the City, the Rise of the City

So let's start with a condition of closure. Nearly every time I go into the city, I lament its passing. In its stead rises a fabulous machine for consumption, a playground for the global élite. Banish any thought that this city is still the place to meet others unlike yourself—Louis Wirth's great insight that urbanism was first and foremost a way of life. The result is that the global city is, more and more, a metropolitan version of American girl town. But if a lament is necessary, its also the symptom of an aging cultural critic. So let's not go there. Closure brings new opportunities.

After all, Jean Gottmann re-mapped the city as megalopolis for us back in 1961. Today the suburb, not the inner city, is increasingly the first stopping point for immigrants, a new mixing-ground, the place where a new urbanism is emerging. What new cultural forms will this new city, writ large, produce? France seems ahead of us in this with le Parkour and French Democracy, What else might be out there?

2. The End of Privacy

Speaking of end-game scenarios, how about the utter and complete decline of privacy in our lives? We live in a world worthy of Orwell, in which every action in our lives is increasingly transparent while the government operates in a state of exception, shrouded in mystery, operating a war without end. Nor is this only a question of the individual's relationship to the state. With the rise of social networking sites and blogs, the boundaries between public and the private are blurred. Make no mistake, this transition is as great as that from the bourgeois public sphere to the age of mass media and will have similar architectural implications. If transparency was one of the foundational principles of modernism and if it remains so in our own architecture, what of it when, like modernization, it is no longer a goal but a default condition?

3. The Return of Big Computing

How is all that information that we are leaving behind being processed? What does it mean that social networking sites pull our attention away from PCs and onto massive, centralized sites? How about the rise of networked applications such as Google docs together with online mail storage? Key software publishers such as such as Adobe suggest that in the near future they will be switching, at least in part, to an on-demand model of software in which users rent applications from on-line sources. One of the hottest trends in web browser development in 2007 was the rise of Site-Specific Browsers.

The result is the emergence of vast server farms and the erosion of the decentralized model of networked computation. Late Fordist computing was big and centralized around mainframes while digital culture focussed on the discreet PC. In its first phase, network culture promised a peer-to-peer model even if it never delivered that, but now this is giving way to big computing.

If so, what are the implications for urbanism? Remember that the growth of the global city has in many ways been the product of its role as a command-and-control center in flows of information and capital. This has been made possible by the decentralized model of large telecom hotels located near key financial centers. But if more centralized than the distributed model that the Californian ideology promised—and thereby ideal platforms for surveillance—telecom hotels still consisted of a multiplicity of individual servers. These too are likely to be replaced by cloud computing, in which virtual servers will be rented from the big players like Amazon or Google. The result is the impending end of the telecom hotel and the rise of utility computing in its stead. Utility computing isn't a bad name for what this new model will be like. Demanding vast amounts of space and power of these server farms will likely be located far from city cores in places like the Dalles, Oregon.

Coupled with new technologies for bringing the net to the home or office—for example, Verizon FiOS—that are being deployed first in suburbs instead of in cities, the computational drive toward urban centralization may be fading.

One consequence could be that we'll see a lot of the "creative industries" going suburban to take advantage of faster online speeds, lower rents, and a less exhausted urban condition over the next half decade.

4. Systems not Sites

2008 is the Web's fifteenth anniversary. But the old Web is dead. We just don't build Web sites from HTML anymore. If you have a site, it's run by a content management system. Now some backwards sites still rely on Flash, but they're easy to identify: they haven't been updated in two years. Instead, most sites that people I know operate or own are either built on Open Source database-driven systems based on modularity and interoperability or hosted on server farms.

Could there be any connection here at all to architecture? Well, if our virtual spaces operate on such principles, why are our real spaces still based on handicraft, low-quality labor, and thoroughly proprietary (the more so, the more "advanced" they purport to be)?

Sure, scripting is all the rage now (having taken over from parametrics), but for the most part this has aimed at producing "cool" design without taking any responsibility for it. Nothing new about that since Eisenman's House series in the early 1970s. Is there any chance that architecture can figure out network culture before its shown the door?

5. Goodbye, Bilbao

On a related note, one of the most pernicious influences in architecture over the last decade has been the Bilbao-effect, the idea that architecture could effect urban change simply by looking cool.

Sure, it worked for Bilbao—maybe everybody was just so shocked by Gehry's only decent building in thirty years—but 2007 was the year in which it became clear that this idea was thoroughly played out. Just who is going to go to Toledo to see SANAA's Glass Pavilion, let alone Roanoke to see Randall Stout's Art Museum of Western Virginia?

There's no question that the Bilbao-Effect has been bad for architecture, validating long-obsolete practices and putting the focus on visibility precisely at a moment when invisibility should have been the focus. Take scripting again, its painfully retardataire, obsessing with form rather than program.

Remember the 1960s, when Philip Johnson museums sprouted everywhere from Utica to Lincoln, Nebraska? Or the 1980s, when every city thought it needed a stadium and convention center to attract businesses until Richard Florida encouraged them to think what that they really needed was an art museum and a gay district?

So too, this fad will pass. Watch the Bilbao-Effect take on water as the real estate bust continues into the next year and begins to negatively affect tax rolls. Architects better make sure they're not so thoroughly identified with cool form that the discipline suffers heavy damage. After all, the alliance of big architecture, big business, and big government has gone awry once twice—in 1929 and 1968—and it nearly meant the end of the discipline the second time.

[Interesting historical note: 1968 - 1929 = 38. 2007 - 1968 = 38. Meaningless no doubt, unless perhaps you believe in Kondratieff waves but interesting to think about how when we refer to 1968 as our formative cultural moment, we are referring to something as distant in time from us as Black Friday was from 68.]

6. The Bust

Which bring us to... the bust in residential real estate. Like the Economist, I have been predicting this for a while and it's finally here. And like anything that's been around too long, the boom bred all sorts of badness as it lasted too long. As a consequence, it may well be harder to pull out of this one than it was to pull out of the great recession of the early 1990s.

It's going to be tricky for the profession not to take on heavy damage in the next year, even with China and Dubai (themselves not very stable propositions) offering work to many. I hope everyone has their paper architecture skills honed. For a short time, at least, paper architecture could be a good thing. The boom has been going for so long that its exhausted the profession thoroughly.

Take Rem, for example, I suppose it's nice that he's building the CCTV tower and all, but during the 1990s he was one of the great thinkers in the field. He hasn't had anything interesting to say since Junkspace and that was pre-9/11 and while Porto was certainly a great building to visit, what happened to immensely intelligent urban plans like Melun-Senart or Yokohama? I was talking to one colleague. In his view, this was no surprise. Rem is going to be able to collect social security a year from now and he's said everything he would ever say. Could be. But there are plenty of thinkers who do great works in their sixties, unless of course they're off chasing their retirement dollars in China and Dubai. And Rem is only one example. Architecture needs practice from time to time to thrive, remember when Praxis (a journal I greatly admire) was founded as a counter to the world of paper architecture and bad theory? But architecture needs down time too and its state of continuous partial attention is, well, increasingly irritating and pointless. The same can be said of culture as a whole. Let's have a good recession and get some good music and art out of it for a change, ok?

7. The iPhone

It's hard to deny the impact of the iPhone. Even with all of its faults—the most awful network in the country, a locked-down interface, and an interface that has its quirks, such as no cut and paste—its a remarkable achievement. For now it unites the iPod and the cell phone, but what's more interesting is that the iPhone is roughly as powerful as a 2002 vintage iMac.

Nor is it unimportant that even as Apple and AT&T proved themselves to be part of the old economy, locking down the platform not just once but repeatedly, a guerilla army of developers successfully broke Apple's code. Among the programs already available for the iPhone are a Last.FM scrobbler, Navzon's simulated-GPS locator that works by triangulating your distance from cell phone towers, and a program that uploads photographs you take immediately to Flickr.

Hundreds of thousands (and just possibly over a million) users have jailbroken their phones, downloading programs onto them and something like one in six went a step further to unlock them to use non-AT&T SIMs. For comparison's sake, Apple only sold 4 million iPhones. This means that hacking firmware is no longer only for the elite anymore. If you haven't done so yet, it's easy… just click this naughty link. Whether Apple gave in or whether this was their canny intention all along, they are releasing a developer kit and opening the iPhone for third-party applications in February.

If Apple opens up the iPhone enough and if Navizon allows hooks into their system from other applications, then the era of mass locative media will be upon us very rapidly in 2008. And if that doesn't happen, then the upcoming Google Phone likely will do that too.

But in this interesting post, Chris Messina suggests that there's something disappointing about this situation. Messina, an advocate of web-based applications, suggests that the iPhone could have been the first real web-driven platform. Now I think there is something interesting here since web apps are in many ways easier to code for (at least for me). There are rumors that the next iPhone update will allow Safari bookmarks to be saved as icons on the iPhone, something that relegated web apps to second-class citizens thus far. If, I differ with Messina in thinking that a forced march into web apps was a bad idea and if I've suggested that there are problems with the web apps model (see #3 above), there is potential here that could be exploited. Of course, I've also said things about web apps in item #3, so exercise some degree of caution as you throw away the CDs for your software.

Alright, enough of 2007. More than half of its last day has passed. Time to pay my final bills of the year, grade my final essays of the year and hope that the former will be smaller, the latter much better in 2008. Stay tuned tomorrow for a surprise or two on the blog.

No doubt there's much more to say about this past year. As always, I'd love to hear about it. Comment away.

out with the old

Design cycles faster and faster these days. See the New York Times for Flash in the Can: Designs Soon Forgotten. If you have a wall for of antlers or resin deer heads, trade it in quick, or be as hip as a proud owner of a Michael Graves teapot in the supermodern era.

Which begs the question, how can architecture continue to avoid fashion? To be sure, there are mini-fashions, but the blob remains with us a decade after its rightful death. And what is parametric design, after all, then the newest version of Bucky-Fuller-speak? Has architecture even caught up with what I wrote about fashion back in 2001? Maybe instead of less fashion, we need more fashion? I'd love to hear your thoughts on this…

Section

Time for yet another gratuitous post to plug Blue Monday. This go around, since some of you have asked about the typeface, I thought I should post a link to Section, a typeface designed by Greg Lindy of the Village Collective. Although ACTAR chose the face, it seems rather apt, given that AUDC's base at the time was L. A.:

Section was designed specifically as the identity font for Intersection
Studio
, a multidisciplinary design firm in Los Angeles. The goal was
to create a flexible, yet distinctive and legible font. Section's
application involved everything from business forms to collateral
material. This font was a key element in establishing the Intersection
Studio brand. It is suitable for text as well as display. Eurostile and
News gothic served as reference in the creation of Section.

 

 

design for the other 90%

The New York Times carries a brief review of a show at the Cooper-Hewitt, "Design for the Other 90%," which the Times refigures as "Design for the World's Poor." To be fair, I haven't seen the show, but the web site generally corroborates the Times review. Both suggest that the focus is on how designers can help the world's poor. I realize that the Cooper-Hewitt is the National Design Museum and, by its very mission, has to maintain an inordinate faith in the capacities of design (take a visit to their online store for another view), but I wonder where the Architecture Without Architects of this kind of culture is? Where is a show on the kind of work being shown on Afrigadget? Not to knock the well-meaning efforts of designers (I'd rather they design for the developing world than for the museum store) but I'd rather see a common ground established between the kind of things in Make Magazine and Afrigadget than to hear yet again about how first world ingenuity solves third world problems.

But again, I haven't seen the show and perhaps I am just being led astray.

What Kind of Society is it When You Can't Even Buy a Chair?

"What kind of society is it when you can't even buy a chair?" asks Donald Judd in "It's Hard to Find a Good Lamp" at Icon Magazine. While the Icon bills this as "Donald Judd gets grumpy about furniture from beyond the grave" (hence this as the second grumpy post of the day), it's really not fair to call this grumpy. Judd has a point.

A pathetic idea of expression debilitates virtually every aspect of our lives. Why can't designers, especially second-rate designers (which is most of them) simply leave well enough alone? Once I have an option of a decent chair for not much money, then I can go for a nutty chair.

There's this strange idea out there that we have to meddle with everything. Stop! Enough already. Take the Mac OS. What is it with those stupid three buttons at the top left corner? Why are they rounded? Why are they even there? Two of the three are unecessary. The close button is obvious enough, but the minimize button is annoying to use (much more annoying that windows, which makes it relatively clear which window you have minimized and which doesn't consume 1/2 as much screen real estate with its relatively sensible bottom bar as the Mac's ludicrous dock does) and the maximize button is, well, just a mystery. Because of their broken functionality, I barely ever use them. Moreover, why are they round? Why are tho top corners of my windows round when the bottom ones are square? Why this infantile attempt at design? Seriously though, it looks comical. If I've compared the Mac OS unfavorably to Windows, rest assured, Windows looks lo awful it's hard to know where to begin (ok, I know where to begin…with those insane bubbles that unceasingly chat with you at the bottom right of the screen.).

Does anyone seriously think that such feeble attempts at empathy actually engage the user somehow? Or is this somehow a dark leftover of post-Fordism?

If you haven't read Donald Judd's writing before, do so now. His punchy, telegraphic style is unique, a delight to read.

Clocky

I was intrigued to read about the release of the Clocky in today's New York Times. No longer just a cool idea, Clocky is now shipping.

 

clocky

Developed by Gauri Nanda, a graduate student in MIT's media lab, Clocky is an alarm clock that jumps off the night table and runs away from you if you hit your snooze button one time too many, randomly screeching at you with its alarm.. Not only do I need a Clocky (I have two small children after all!), with Clocky I think we see a glimpse of the future of network culture in which our relationships with things become ever more emotional. I'll take the shag one.

 

shaggy clocky

 

 

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