December 11, 2006

On fabrication and fulfillment

Surely the machine is merely a brain which we get as potluck from nature. -Louis Kahn
The universe is literally as well as metaphorically a computer. -Neil Gershenfeld

Neil Gershenfeld and Louis Kahn know a few things about design. While their respective texts resonate quite separately of one another, the essence of their themes are similar. Both tell stories of the human process of creating to fullfill personal desires. Gershenfeld speaks of computation and technology in "Fab," while Kahn focuses on the introspective, spiritual manner of architecture in "Silence and Light."


[Louis Kahn]
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[Neil Gershenfeld]
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Gershenfeld explores the evolution of computation, from the early mainframe to the PC, and how these machines will continue to evolve to serve the unique needs of individuals. The personal fabricator is the ultimate realization of this need, developed in the form of a class at MIT called "How to Make (almost) Anything." He goes on to tell the story of how students with little previous knowledge or experience with engineering fabricated their own high-tech gadgetry to satisfy personal desires. "Such a future," he states, "really represents a return to our industrial roots, before art was separated from artisans, when production was done for individuals rather than masses."

Kahn spoke of light as architectural fulfillment. "Form follows desire as a realization of a dream or a belief. Form tells of inseparable elements." Light allows us to see these elements, to experience their realization. He reminds us that, without light, architecture does not exist. Kahn suggests architecture and light are inextricable, stating "...structure is the maker of light." The very existence of structure relies upon humans experiencing the conciousness of a composite order. He states, "There is in the design the consideration of the difference between the order of structure and the order of construction." In other words, the order of construction exists as a series of events occuring over time, while the order of structure is given an ecological significance; each part contributes to and relies upon all other parts of the whole..."A beam needs a column; a column needs a beam."

Kahn and Gershenfeld use different language to describe the processes of fulfillment, yet the fundamental logic of their texts reveals a commonality. Both speak of a deep-seated desire to turn away from the prevalant mass-marketing of goods and services to focus on the needs of the individual. Humans possess an inherent need to create meaning in their lives, and personal expression is one of the most important tools we use in order to reach this state of fulfillment. Creation is evolution. Light is knowledge. As stated previously in the entry on "Technopolies," our tools as well as our craft evolve as our knowledge increases. My own process of fulfillment involves finding ways to shed as much light as possible onto the lens with which I view the world, so that I might fully experience the journey as well as the discovery of knowledge, the universal enabler.

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November 25, 2006

Technopolies

Technology is simultaneously a boon and a burden to the world. It tucks life into more convenient packaging. It reduces the need for social interaction. I can think of a multitude of ways technology has imposed upon the various cultures of the world. It is useful to reflect upon the idea of technopolies [as defined by Neil Postman], and technology [as an order of nature], so that I might begin to understand and come to terms with the implications of these realities.

A technopoly is, in essence, a society ruled by technology. It exists as a separation of moral and intellectual values. It is composed of distinct, functional aspects that enable greater comfort and convenience. It is defined by the advancement of tool-using cultures transforming the way in which societies operate. Technology destabilizes our notion of certain "truths" by permitting access into portals of information that were once immensely difficult, if not impossible, to penetrate. Television, radio, print media, and the internet immediately come to mind as examples of how our perceptions of the world are constantly challenged through exposure to alternative ideas. Postman declares, "Surrounding every technology are institutions whose organization--not to mention their reason for being--reflects the world-view promoted by technology. Therefore, when an old technology is assaulted by a new one, institutions are threatened. When institutions are threatened, a culture finds itself in crisis."


[Early technology :: the printing press]
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Postman also speaks of technology as a process of integration and differentiation, requiring a new system to promote social equity. Any given culture must learn to adapt to new environments brought about through technological advancement, lest they become further removed from society. He postulates, "There is a calculus of technological change that requires a measure of even-handedness." This sentiment portrays his assessment that technopolies function as ecosystems, and any adjustment to an entity within it affects the entire ecosystem. Such events create cultural upset. A society that introduces any new technology into the cultural mechanisms of a group creates a divide between those who can afford to use the technology and those who cannot or whose beliefs will not allow them to use it. An example of this is the immense transformation of communication and knowledge transfer that occurred with the invention of computers. Even as I compose this blog entry, I am reminded of how far removed I have become from the ink and paper of my pre-internet days. I am largely a product of the culture in which I was raised, and while I recognize the same social tendencies in my peers, I can't help but feel disturbed by them.


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Postman observes how cultural ideals are peddled to us by an industry that seeks to control that culture, often for self-serving purposes. He states, "As for change brought on by technology, this native optimism is exploited by entrepreneurs, who work hard to infuse the population with a unity of improbable hope, for they know that it is economically unwise to reveal the price to be paid for technological change. One might say, then, that, if there is a conspiracy of any kind, it is that of a culture conspiring against itself." As such, mass-media conditioning of a technocracy renders it subject to entrapment by means of its own devices. A stellar example of this is the recent string of violence that occured with the release of PlayStation 3. It is rather astonishing that people would wait in line outdoors for hours waiting to purchase a video game console.


[Technology of entertainment]
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The stampedes of impatient consumers trampling fellow shoppers for possesion of the latest piece of flashy equipment exquisitely reflects how powerful a grip technology holds on our society.

A certain mindset exists in many cultures today that technology is the answer to the world's most urgent issues. Some people living in developing countries must face difficult living conditions due to lack of money, education or other resources. A recent philanthropic project seeks to address this by creating affordable laptop computers for the world's poorest children.


[From laptop.org...the $100 laptop]
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The project, called "One Laptop per Child," is a nonprofit program developed at MIT to provide energy-efficient computer and internet technology to children of families who otherwise could not afford it. Problems are likely to appear in the pilot stage of the program, and will have to be resolved before the computers are distributed to more countries. The idea that computers are crucial educational tools and should be distributed throughout all cultures exemplifies the technocratic view that a society cannot function optimally without technology.

***

Comedic guest lecturer (or technophile, as Postman would probably describe him) Lance Lavine presented the idea of technology as an order of nature. After I took some time out to think about what he spoke of in class, and the images he used, it started making sense. Simply put, organisms evolve. Each organism uses its own set of tools to enable the continuity of its species. This can be as simple as certain insects developing specialized mandibles to capture prey, or as complex as humans developing specialized medical equipment to perform open heart surgery. As the knowledge and experience of a species increases, the complexity of the tools used by them increases. The concept of survival of the fittest comes into play here. Where technology is concerned, the advantage lies in creating the most accomodating provisions.

Lavine spoke of the "rooted order of the earth" and explained how building columns resist gravity to give us structure, and how regular placement of columns provide a frame and the notion of permanence. He spoke of sunlight "gathering all things into the human domain." By turning buildings upside down & inside out, he showed how technology is a process of human evolution. He used Gaudi's buildings as analogues of gravity, and Center Pompidou's externalized mechanics as a metaphor of the building itself. By using these examples, he demonstrates how technology is a natural extension of human thought. As our tools become more complex, so, too, does our craft.


[Center Pompidou]
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Both Postman and Lavine have explored the nature of technology and expressed very different, yet equally valid opinions about it. I don't expect I will resolve my love/hate relationship with it anytime soon. I generally hold a more pessimistic attitude towards technology, but I will usually succumb to its offerings once I have fallen sufficiently behind my peers. It is crucial for us to consider Postman's view so that we can try to see technology as a powerful agent of change. If we abuse the power it brings, we will have to deal with every consequence. Likewise, if we take Lavine's point of view, we can use technology to create a better life for ourselves and others. Popular sentiment seems to be the sum of both points of view.

November 5, 2006

Analogues

Mathematics contribute a significant presence toward every life function. Deeply embedded within us exists an instinctive motivation to understand the quantitative relationships between things. If we consider the world as a system of flows, we can examine these relationships on microscopic levels in order to determine our individual roles within a macroscopic world. We can use mathematical functions to create order and structure in our lives, knowing that each action we take has some degree of effect on the greater system. These relationships are studied at great length by designers who must meet the challenges of creating functional spaces in unpredictable environments.

Mathematic philosophy can seem esoteric to the average person, but this philosophy actually confronts each of us on a daily basis as a set of analogues. Alfred Adler explains this philosophy as a process of discovery: "Mathematicians will consider two mathematical objects and ask whether they are similar in some significant way, and whether there are other objects that are like those two in the same significant way, and then, perhaps, whether there are among these objects further similarities, which have not yet been discovered." He elaborates further, "The operational methods of mathematics are designed to refine and simplify the search for analogies. Their purposes are to abstract, to generalize, to compress, to isolate, and to expose."

The search for analogies is not performed strictly by mathematicians, however. Design involves an extensive process of performing mathematic functions to arrive at precise quantities and measurements. But design is not strictly about calculating proportions, it also involves creating a functional and symbolic presence in both public and private domains. One particular mathematical object that designers employ is known as a fractal. Loosely defined, a fractal is a repeated shape that appears similar at all scales and is often observed in nature in various forms. Some examples include: leaf venation, snowflake structure, broccoli, wave patterns. I will use the fractal here as an analogy to a system of flows. Each action creates a ripple affect of repeated responses to that action.

[Koch snowflake :: example of a fractal from Wikipedia]
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Fractals in architecture can symbolize any number of ideas, as the following examples suggest.


[Ba-ila settlements of Southern Zambia :: each ring represents a tribal family settlement. Each larger, corresponding settlement moves along a status vector. The chief resides within the large central ring]
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[Eiffel Tower, Paris :: Truss shape is repeated throughout & size decreases with height]
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[Hindu Pantheon :: infinite repetition equates rising toward transcendence]
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There is a seemingly indelible quality to infinite repetition. When designers use nature as an analogue, perhaps they are aiming to achieve this same quality. I also tend to believe that human nature dictates a need for comfort through familiarity. Repetition is certainly characteristic of this need. There is also a suggestion of the cyclical nature of life, of renewal and decline. All of these individual processes contribute to a larger scheme. This is one of many ways in which mathematics correspond to design; actively seeking new modes of expression and directing the outcomes to the rest of the world.

October 22, 2006

Oppositions

Some of the most transcendent works of architecture in our world are places of worship [e.g. temple, mosque, cathedral]. Having studied these types of structures in both art- and architecture history courses has led me to think about their collective intent and how this intent motivates their construction. Places of worship in the context of architecture represent an opposition of values across cultures.

I perceive the human mind as a mechanism of chance, a result of the randomness of genetic inheritance. Individuals follow their own particular and subjective train of thought. This is made possible by the unique pattern of DNA that makes up an individual personality, and colors their experience within our world, such that no other person will experience any set of circumstances in exactly the same way. This biological phenomenon underlies a pattern of values held by the majority of any given population within its particular geographical region on the globe. Here lies the disparity between eastern and western philosophy and religion. As such, due to geological and other physical constraints of a particular region and the values held by the majority of its people, each structure that is built within the region is heavily influenced by nature and culture.

[Bolivian church]
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After viewing "Baraka" in class, I came to realize the drastic extent to which both religious and secular cultures inform the architecture of each distinct geographical region across space and time. Furthermore, the physical nature of a region is viewed differently and treated according to the values of its inhabitants, in other words, it can be viewed as sacred, or simply as a piece of land to be manipulated or conquered. There is indeed an opposition between the physical and the spiritual within the opposition of values across cultures.

[Buddhist statues]
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So can these oppositions be resolved? Are individual values of a greater importance than the preservation of the societies in which these oppositions are juxtaposed? A resolution of opposing values involves cross-cultural communication at the very least. It involves identifying the social factors created by each group and the problems these factors contribute to societies that share common spaces. It also involves each group identifying those factors which can contribute positively to society and nature, and developing methods to facilitate these factors on a long-term basis.

[Malaysian mosque]
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The most obvious resolution I can think of is for designers to continue to research the intricacies of cultural influence on social and physical environments throughout history. This will help determine appropriate methods to accommodate the needs of each cultural group while simultaneously recognizing the needs of each domain within the complex matrix of life on earth. Truly, it is far more complicated than this and it is difficult to address this particular opposition in only a few paragraphs, due to the complexity of issues involved in such a discussion.

While the debate of global warming and morality rages on amongst politicians, the problems of human overpopulation and diminishing resources will continue to accumulate and affect every organism inhabiting this world. Designers must address a resolution of intersecting values if they are to effectively serve the needs of all of humanity, while respecting the physical realm on which we build our sacred structures, regardless of their intent.


October 5, 2006

Face a phenomena

During the beginning of August, I travelled to Chicago to visit friends and had the chance to walk through Millenium Park. I was confronted with many notable architectural and sculptural phenomena, including the Jay Pritzker Pavilion [Frank Gehry], Cloud Gate [Anish Kapoor] and Crown Fountain [Jaume Plensa].

I was particularly fascinated by the spectacle surrounding Crown Fountain, a conceptual summation of Chicago's diversified population. It was a clear day, and the temperature was in the upper 70's, factors which drew a sizable crowd to splash about between the structures.


An excerpt from http://www.millenniumpark.org/artandarchitecture/crown_fountain.html:
The fountain consists of two 50-foot glass block towers at each end of a shallow reflecting pool. The towers project video images from a broad social spectrum of Chicago citizens, a reference to the traditional use of gargoyles in fountains, where faces of mythological beings were sculpted with open mouths to allow water, a symbol of life, to flow out. Plensa adapted this practice by having faces of Chicago citizens projected on LED screens and having water flow through a water outlet in the screen to give the illusion of water spouting from their mouths. The collection of faces, Plensa's tribute to Chicagoans, was taken from a cross-section of 1,000 residents.

A photograph from Wikipedia:
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A photograph I took on the day of my visit:
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I consider this public art work a phenomena in both cultural and technological contexts. It's frameworks can be defined by the LED screens which collectively project the faces on the entirety of their surfaces. It also has clockworks; while different faces are constantly projected on the surface, there is a brief time period when the surface is blank, at which time a new image is retrieved for projection. The "spitting" feature could also be called a clockwork. All of these features are physicalities that can be objectively observed and accounted for. But I take greater interest in observing this physically immobile object actually creating movement within itself. It could be called a continual work-in-progress, drawing viewers within it's perimeter, thereby compelling those viewers to become a part of the work. The constituents, mostly young children uninhibited by getting their clothing wet, are as fascinating to watch as the changing faces. The dynamic nature of Crown Fountain renders it nothing short of a phenomenon.

October 1, 2006

Genius Loci

Architecture embodies more than structure and space. This sentiment is generated at great length in Genius Loci... "To gain an existential foothold man has to be able to orientate himself; he has to know where he is. But he also has to identify himself with the environment, that is, he has to know how he is a certain place" (Norberg-Schulz, 18). I would like to elaborate on this notion of viewing "environment" as a physical and spatial entity as well as a psychological construct.

The Eco-Enterprise Center in Minneapolis serves as a perfect model for this purpose. To touch on a few highlights:
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The center features energy efficient building design, is crafted from salvage materials, and boasts a prominent, award winning green roof. It houses local businesses and organizations bent on sustainability and social responsibility. The design of the building provides for eco-concious functionality as well as the emotional state of feeling closely connected to one's environment. Genius loci, defined as spirit of place, puts emphasis on a person's character, or identity, within the context of the natural or built environment. During the course of my internship with The Green Institute, an organization within the Eco-Enterprise Center, I became familiar with many of the neighborhoods in the Twin Cities. I spoke to residents from those neighborhoods and in the process, I came to recognize my own identity as a resident concerned with their environment as well as my own. The interconnectedness of the spaces we occupy leads us to construct both material and emotional structures to protect them. By doing this, we attempt to arrive at a place we can feel comfortable inhabiting.

The Eco-Enterprise Center represents what I have come to understand about the meaning of genius loci in that it functions as a continuum between space as a function of the built environment, and place as a function of the psyche. To further explain, "Although orientation and identification are aspects of one total relationship, they have a certain independence within the totality" (Norberg-Schulz, 20). My experience as a resident of the Twin Cities and a human being that recognizes the endangered state of the natural environment has allowed me to fully embrace the essence, or spirit, of the Eco-Enterprise Center.

September 25, 2006

On the social implications of design in Minneapolis

c.1992 [Aerial View along Washington Avenue, downtown Minneapolis]
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c.2003
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I’ve been a resident of three disparate urban areas within the past eight years. Growing up in a suburb of Milwaukee and having lived in the city proper for nearly six years, I had the opportunity of seeing it transform from a series of middle-class neighborhoods into a mosaic of gentrified pockets situated within the greater conglomerate of long-established communities. The city is now littered with warehouse-converted lofts in districts that were once at the heart of the working class. Though I only just moved to the Twin Cities in early 2005, I can draw some of the same distinctions by simply traveling along Washington Ave. towards downtown. The photos you see illustrate this same sort of transformation. Once a barren wasteland of concrete, this stretch of land is slowly emerging as a high-end destination of loft apartments, restaurants and retail/commercial spaces. According to the Metro Council website, in the early 1980’s, it was little more than an abandoned industrial area with little public access. Today, this access is greatly improved, with the cultural and historical features topping the list of improvements recently imbued into the area.

I started thinking about the social implications of this transformation and what affect it will have on the surrounding communities. I can’t deny the aesthetic improvement that is taking place, some of the new buildings are arguably attractive, and certainly more so than the piles of rubble they are replacing. New businesses will require new labor, and the location makes it easily accessible by public modes of transportation. I also feel that building housing units in areas such as these is a positive thing. While it isn’t going to solve the problem of outlying suburban sprawl, it is encouraging to think that some people will choose to live in areas like these where it is preferable to travel by bus, light rail, or bicycle and enjoy the cultural smorgasbord that is available right outside their door. Some may argue that all of this new development is going to alienate lower-income individuals in the area due to its upscale nature. While this may be true to an extent, we have to remind ourselves that by redeveloping a public space that was once nearly dead, we are designing a better future for the greater community of downtown Minneapolis. It will serve to bolster local commerce and attract visitors from out of town. For these reasons, I believe this redevelopment design will serve our community in a positive way.

Source: http://www.metrocouncil.org/planning/landuse/MinneapolisDT.pdf