The relationship between shapes and social practices is, at its core, an essential design conceit — from typographic identity to architectural megastructure, giving form to ideas is what designers do. But McCollum’s project goes beyond mere morphology, embracing a kind of über-solution in its very claim. Endlessly permutable, teeming with indefinite potential, McCollum’s strategic genius lies in his appeal to a culture hungry for the quick fix. The Shapes Project promises maximum gain with minimum effort: better living through geometry.
It's not so much the shapes themselves as the idea of the shapes, the very notion of a system of forms that's so captivating. And so unnerving. If I were to identify the one prevailing topical interest that has most surfaced in the last year — among students, in juries, at conferences and exhibitions — it would have to be this obsession with series and systems. How to identify them; how and where to introduce them; the question of whether, once a series is identified, your work is done. It's the illusion of certainty that's so mesmerizing — the idea that not everything is in flux, unfixed and mashed-up and dislocated. Systems by their very nature introduce an armature as well as a roadmap for their own completion. You look at one iteration, then two — then ten — and you get it. Once demystified, you can concentrate on other things — form, perhaps, or beauty. A glorious insect. A Trollope poem. Your lunch.
Or not. Which begs the question: does a system invite psychological repose precisely because it is so clear and comprehensible — or does it lead us to search for precisely its opposite — a kind of exotic deviation from the norm, an abstraction or glimmer of novelty? McCollum stresses that he laboriously created each of these shapes, and resists the notion that this body of work emerged from a kind of robotic (read "vector generated") process. Is artistry compromised if software is involved? Is design?
One Shape For All and For All One Shape
A Note on Design Pedagogy
Reading a recent article on the theory behind Gropius' Bauhaus and the Applied Art Schools in Breslau and Dusseldorf, led me to finally construct a valid argument to defend both this very blog and the very basis of my current daily works. The theory is best illustrated by the 1907 creation of the Deutscher Werkbund. This association of architects, designers, and industrialists helps illustrate state-sponsored evidence of the need to commercialize artistic talent.
The pedagogical nature of the Bauhaus and congruently Parsons are exhibited in the curricula of both institutions, while formed around the same time, developed independently of each other on two different continents. The need to industrialize raw artistic talent; to bridge the then widening gap between industry and art was expressed in the Deustcher Werkbund, the Bauhaus, and Parsons itself. Academia failed to adequately prepare students for real life expression of their artistic talent, the manifestation of their ideas were doomed to failure without being prepared for real media to express themselves with. Creativity was lost in the swirls of vocal academics who, given their university training, were able to effectively express and accomplish.
This quote helps express what I am trying to say: "True creative work can be done only by the man whose knowledge and mastery of the physical laws of statics, dynamics, optics, acoustics equip him to give life and shape to his inner vision." Therefore we can see the pedagogical importance of the Bauhaus, and currently my education at Parsons. I am being given the vehicle and required training to effectively link my creative talents with industrial processes. I am being given the tools I need to graduate and work and earn a living, rather than squander any creativity in futile attempts of recognition. Practical and theoretical, simultaneously releasing the creative powers contained in the students at this and other design schools. Maybe we can say teaching us how to talk the talk and walk the walk.
Listening to Bob Dylan.
iPhone: Planning vs. Implementation
The new Apple iPhone, the craze of all design industry. After much awaited time, Jobs has taken advantage of delayed market entry to observe and capitalize on past PDA-Phone-Entertainment devices. Nonetheless, let's look at the practicality behind the $500+ device in terms of its implementation.
Most importantly, the iPhone will be available exclusively on the Cingular network. The number of people that will switch to Cingular to take advantage of the newest Apple creation (we can define these people as the die-hard Apple fans, which are none too few) are those that we can say that are the first-adopters of the device. In fact, we can say that there will be a great number of people who will buy the device at any given cost, only because they are so focused on buying the next hottest Apple device. For the rest of us, as much as we like this device, and at its incredible cost, we must now seek to weigh the cost of breaking our contracts and leaving our beloved carriers simply to buy into a trend. Practically, I have Verizon, my friends have Verizon, as much as the iPhone looks appealing, I dont think I will be breaking my contract anytime soon.
On the design front of the device, it has appealing features, but holistically it is the spokesman of the "creative" type. What the iPhone does for us creative types is help provide an alternative to the highly formal blackberry or treo. We are no longer mislabeled by the phone we carry, and we can succumb to our ever-vocal choice in electronics (MacBook, iPod, and iPhone to match). The software on the iPhone nonetheless (yes I have had a unique chance to test drive) is what sells it for me. Intuitive interfaces that are familiar to us from our work and play interactions, the iPhone plays upon the ease, adaptability, and error-free operation that us users of OSX have grown to love and those users of Windows XP have not realized exist in digital interactions.
All in all, I give kudos to Apple and its next-obvious step in innovative production, but their terms are too selfish. Apple knows it has cornered a certain type of market and is seeking to expand that market everyday (see the latest TV ads obviously geared towards older PC-using men). Knowing this, reviewing past failed deals, Apple had demanded way too much in past talks with Verizon and maybe T-Mobile and thus failed in being able to introduce on several carriers (like Treo, Blackberry, etc).
FUTURE RELATED POST: iPhone REVIST
Listening to Paolo Nutini.
New New York: Post 9/11 Skyscraper Resilience
Stemming from my last post about the Telefonplan in Stockholm as a factor in urban identity, I take aim at home, New York City. In the next four years New York City's skyline will be brand new. With six major skyscrapers jotting up on this tiny island, look at each one, and think what kind of impact will this have or does it have on our current urban ID, the design of the famous skyline, and presence in work, play, and life of a New Yorker. Urban planning and development as crucial elements in the cogs of urban living; these buildings all to some degree are a reflection of an architectural, artistic, design, financial, pop, and lifestyle capital of the world, and so should foreshadow and resonate the collective ideals of its community.
Residential Real Estate:
-- The Solaire. One of the first green residential buildings, The Solaire in battery park signaled the onset of a change in development. By marketing itself as an innovative solution to growing environmental concerns, not only does the building make convention for new buildings to be constructed, but also acknowledges the a demand for this kind of living.
-- The Helena. The Helena came shortly there after, also on the west side, in the 60's. The Helena followed pattern with The Solaire and is helping to reconstruct the skyline from a New Jersey angle.
Media Publications:
-- The Hearst Tower. The home to numerous magainzes in the Hearst Empire, this columbus circle building, also leaning towards the west side, achieved "gold" LEED status. Hmmm. Well, the architectural use of the original building's base saved something like 30,000 tons of building material. The design? I am not quite so fond of the design, considering that it is of no cultural influence or relevance to its community. Although the design does give to saving materials. (see above).
-- The New York Times Building. This building is really amazing. Another contribution to the reconstruction of the west side skyline, Renzo Piano has taken great care in building an iconic and strong presence in New York. It features a technologically advanced innovation in glass facades, allowing for optimum conditions for heating, cooling, productivity, and aesthetics. This building, in humble opinion, also contributes importantly to the design of the landscape. The simple, elegant, and sharp structure carefully plays respect to its skyline neighbors, yet forms the independent and striking character so defined by residents of the city, and the nature of the newspaper.
Financial:
-- The Bank of America Tower. 6th avenue, just off of bryant park is the Cook+Fox creation of the Bank of America tower. When complete, claims to be the most environmentally conscious building in New York, it's organic and curvaceous design is indicative of a green-building that would overlook a famous park. They are trying to get platinum rating, but moreover, I think that the way the tower has been publicized is a full indication of how important it is that Cook+FOX recognizes their position as a voice for the architectural voice of NYC, because of their leadership here.
-- The Freedom Tower. To be built on the World Trade Center site, this buildings appears to father the buildings around it, in a skyline shot. It rises above with the support of the buildings that surround it, I see how the design integrates well with the lower manhattan landmark site. It's sustainability, while not as great as those that are above, is significant, with its own natural fuel cells to generate power. The building's design is the culmination of hot debate over how and what should fill this spot, the ultimate example of how architecture in an urban environment plays the ever-important cultural and social catalyst position.
We are seeing a total reconstruction of Manhattan's west side skyline. Second, all the buildings show that such large members of the community play a leadership and exemplary role in reflecting the desires of the community in which it is joining. New York is on a green trend, sustainability and concern for the welfare of our community is more important than ever, and we can see how each architect has taken great care to respect the wishes of those people that will organically integrate their lives with their urban environment. My problem is, I wish there was a modicum of pace involved so that we can learn from the mistakes of each tower as they are built, and iterate our sustainable thinking more suited for actual results over USGBC certification.
Listening to: Miles Davis with the great Gil Evans.
Stockholm's Telefonplan Tower: Identity and Design
Take a look at the picture to the right, this is a live feed of the Telefonplan tower in Stockholm. This 50 year old tower is a sign of the corporate-ization of Stockholm. Since its construction, and through its functional use for cell phone research by Ericsson, the residents have felt like this austere tower is an imposition on their landscape, a symbol of corporate influence. Ericsson has now left this tower behind, so three men, an architect, an interactive designer, and a local artist created this open piece of art. In an ironic twist to the growing privatization of Stockholm, they have taken the tower and fitted every floor with 36 lights. The lights are, ironically, connected to a cell phone. Anybody can call the cell phone, and by using a specific code outlined on their website, they can control what lights are shown on every floor of the tower.
People controlling the things that controlled them, ironic justice through urban art and design. Stockholm pride! Virginia is for lovers!
Talk about recapture of identity, residents to controlling their landscape. An artistic expression of public response to the privatization of the city. It is a show of identity and the public aversion to this iconic and landmark tower in Stockholm. Think about 9/11 when the towers fell, and NYC's response. While there was grief over those lost, there was also a prevailing feeling of grief over the marring effect to identity of the city, in parallel to the design of the landscape. What this installation does is express that need for communal identification with residing and being a member of a thriving city. There is pride and personalization involved when one aesthetically seeks identification with where they live. San Francisco has affluent and quaint homes, LA, well, LA has a concrete maze of roads, NYC has surprisingly intricate designs on the tightly packed island, Stockholm has this tower and what it symbolizes to the residents.
Call +46 (0)70 57 57 807 right now, follow the instructions, and watch the live feed.
Listening to Appleseed Cast.
Shin-Yatsushiro Monument: Conceptual Design Was Bad?
Conceptual design is far from as simple and easy as it looks. From it's fundamental expression of concept, to its ability to intelligently capture people through simplicity. From far away, this monument appears to be a child-like house, maybe something that Tim Burton would have in one his movies. Inside is the waiting area, where people can see that the whole structure is punctured with holes, and the flat walls sum up to a 3-dimensional structure. The waiting area for a high speed train in Japan, a conceptual design presented in its simplicity, like the Vuitton building (below), an optical illusion.
It does not follow any form of instructional guide, and artistic freedom is left to the designer. There needs to be an underlying objective of the design, something that the designer is seeking to accomplish. After the concept is defined and established, carefully paying attention to the context of the social and physical environment in which it will be employed, you can begin to understand user rules and requirements. After this, you mitigate the constraints with the objectives, and you have a plan.
The ability to express complicated ideas through the most simple and functional form is essential to a conceptual designer. Even in fine art, all innovations of post-modern and modern art are of conceptual creation. We can look to cubism as a developed concept, presented in its simplicity, yet able to express a complicated thought process. Add to this dadaism, expressionism, and even well-done modern industrial design processes, like the IPOD. Others argue that good, intelligent design is visually complicated, whose synchronization and implementation is only brought upon by the best designers. I refute this claim, because while these "visually complex" designs may or may not have a concept behind them, the designer plays the luck of the draw in finding out if some concept can be luckily found through making things complicated. A conceptual designer begins with the complicated concept and then seeks to simplify it to the extent of reaching all people.
The beauty of conceptual designs are that they are simple and intense, exactly what good design should be, in my eyes. While others see good design in intricate patterns (see Li Xi), and the ability to interweave complicated rhythms, conceptual design expresses an artistic right that the designer has. It is because of the fact that the concept usually predicates the user requirements, and because of the bold nature of this idea, that conceptual design opportunities are usually only given to those accomplished designers.
Listening to John Coltrane.