Really? This again?

February 19th, 2010

It all tastes like Vanilla

After first seeing Herzog de Meuron’s Vitra Haus last week on some miscellaneous blog, and then again this week in Cool Hunting and Deezen, I cannot fathom why a cutting edge firm like H&dM would generate such a second-rate design for a client with such a rich history and avant garde  credentials in the field of furniture design as Vitra.  While the sectional qualities of the project are a minor saving grace, one  can’t shake the feeling that we’ve been here before…
Venturi
Have a pleasant weekend.

A Slap and a Tickle

February 3rd, 2010

 A Function of Form

Ah February!

This month is the social precipice that signifies the downward slide of New Year’s resolutions everywhere.  In February the futility of self-improvement becomes glaringly apparent- Gym memberships are canceled, floundering relationships implode, and people go back to being predictably imperfect.  However, for those of you who are still aspiring to greatness, I have some literary detritus to make you seem smarter at cocktail parties, and whose size and graphic lucidity will certainly spruce up your bookshelf during the coming year of predictably boring coffee table books and vanity slabs that have come to signify the first decade of the new millennium.

I have never been interested in form as a projective device and so I was delightfully surprised when I happened to pick up The Function of Form (Actar, 2009) a few months ago.  Written as a continuation of The Function of Ornament (Actar, 2007), Farshid Moussavi reiterates her interest in architectural affect and performative geometry through the exploration of several fascinating and notable case studies- many of which span hundreds of years across the architectural canon.  According to Mousaavi, the behavioral unity that joins the various typologies together is two-fold.  First, there is their geometrical evolution which she grounds in the transversal or “base unit” method of formal generation.  Here multiplicity is defined from a singular parent form, which then regulates and informs elements throughout the rest of the system.

The second characteristic cited by Mousaavi is the concept of creating novel forms through tessellation or the repetition and differentiation of virtual forms.  According to the books introduction, every project cited in The Function of Form contains inherent qualities found in tessellation, and that these qualities result in a kind of material or affective lexicon to be incorporated and exploited by designers interested in buildings with a certain kind of material affectation or formal nuance.

The Function of Form is a respectable guide on geometric morphology for both architects and students alike (though it does espouse a very particular kind of formal behavior).  The books beautifully minimalist diagrams and erudite text are perfect for those who wish to dabble or simulate expertise in the production of formal affect.  The problem with such books however, is that they inevitably fall prey to abuse in both the academic studio and beyond.  While I don’t expect to see Mousaavi’s text referenced in any professional articles, I am waiting for the moment when a student of mine cites the book in response to a studio problem.  I also have no doubt there will be entire fabrication seminars which may use it as a primary source in order to shore up their often elementary knowledge of performative structure and shape.  While I recognize that the “form-makers” who will praise Farshid Moussavi’s book tend to only hear their own scripted siren song, an alternative voice from an outside critic might have made the conceptual melody all the more pleasant in this text, and given A Function of Form the critical objectivity so often missing in the contemporary discourse of formal morphology and material affect.

A little New Years cleaning

January 5th, 2010

Dead Trees

I have this propensity to clean things on New Years Day.  It’s been an obsessive habit which I’ve maintained over the past 10 years or so.  This year though, I made new inroads into my insatiable desire to consume and then purge.
I threw away all of my back issues of Dwell, Metropolis, and Form.  However, before I pitched the lot into my city blue bin, I took a couple of hours to browse through the last 5 years or so if themes in print publishing.  There was a lot of object-worship, “tech fetish”, “green washing”, “how-to’s” on being your own developer, and of course the rise of Dubai, and China as global examples of architectural excess.  However, despite all the 2-cent speculations on built-form which have popped up since 2005, there were some serious conversations about urbanity and domesticity that still in many ways remain fresh on the second read.  I’ll also miss many of the voices which have either moved on or been silenced by illness or death.  Gone is Herbert Muschamp, one of the most brilliant critical observers of urbanity since Ada Louise Huxtable’s heyday in the 60’s and 70’s.  Also, my favorite curmudgeon, Philip Nobel, whose witty and notably acerbic pieces I used to adore almost as much as Ben Katchor’s cartoons in Metropolis is no longer with the magazine.  Sadly many of the tritely populist voices I was able to ignore in Dwell have, over the past few years, moved over to pollute the pages of Metropolis, and the magazine is showing a remarkably lackadaisical attitude as of late towards serious issues facing both the profession and society as a whole.  My guess is that Metropolis has erased itself from relevancy through its blatantly commercial attempts to shore up its subscription base with endless articles focused around the banal technical aspects of “green” architecture and “nester” porn, all the while avoiding critical topics facing both the academy and urbanism.
So it’s safe to agree that print media will die, and that’s O.K. (I saw a woman at my local spa come out of her massage with a Kindle tucked under her arm).  However, have no fear, books will continue to serve as fetish objects as my Amazon bill for 2009 can attest to, and design professionals will continue to churn out visually seductive content for lifestyle magazines such as Wallpaper (who have thought it would make it this long?), Mark, and my personal favorite from the last days of the 2008 boom, Monitor- A glossy pub. that conjures up visions of remote island tax havens and Russian mafia backing.  With the rising dominance of design-oriented blogs such as Dezeen, Tropolism (which I write for on occasion), and Archinect, one now no longer has to go to the magazines to taste the soup du jour.  I count over 30 design blogs on my Delicious toolbar and continue to stay updated through a constant RSS feed, which I rarely check these days since most of the digital work is starting to look the same.  However, there is nothing like kicking back with a glass of one’s favorite scotch or vodka and paging through a pile of pulp (at least till Apple gets that new tablet to market).  Of course the random nature of browsing leads to sometimes pleasant surprises, though this is happening to me more often on the Web as I sometimes spend evenings wandering around the Internet trolling for random content.  For those of you who prefer the caress of paper to the sterile plastic of the touchpad or mouse, have no fear, print media will endure long past its sell-by date. While the demise of the publishing house will most likely be old news by the time I reach Social Security age, you should expect the content of the remaining pubs to be better, the price much higher, and the circulation to be of a highly strategic nature.
Enter the zine.
Being both a fan and an active participant in Zine culture I’d like to think zines will continue to proliferate.  Because of their highly-personal nature, zines have transcended the simple function of content delivery and have become socio-cultural totems to be fetishized, collected, and adored.  I have yet to discover a blog which encourages the curiosity I feel with zines, but perhaps I’m looking in the wrong places online.  In any case, while I’m going to let my Dwell, Metropolis, and Form subscriptions lapse this year, I have my iPhone set to remind me when I should be looking for the seasonal issue of Pinup.  Pinup is “zine” more than “mag” and focuses on interviews and design content that in most cases operates on the fringes of the art and architectural professions.  Some of the interview material is highly superficial (like the recent piece with Peter Marino, perhaps the first true example of the Starchitect personality in all its disgusting honesty), however enough of the writing is respectable and the content entertaining enough to substantiate it’s high price.  It goes without saying that Pinup could be online, and in fact does have a substantial online version, but it just doesn’t titillate in quite the same way.
What I find to be the most interesting about Pinup and magazine-zines like it is that together they represent the future of print publishing which will become a high-priced niche venture as digital devices proliferate and evolve, even while methods of production become cheaper and easier to accomplish from remote locations (remember when LuLu was cool?).  However, what will keep print around and close to our hearts is its random nature.  Like cities, which will never be marginalized completely by the suburbs, print media will endure because we can meet it on the street, fall in love, and discover the beautiful unpredictability that is quickly becoming the stuff of antiquity in this, our highly-structured, and over-saturated digital life.

Some final thoughts…

December 31st, 2009

Saline Valley 2009

Happy New Year !

Why solutions won’t save you

December 12th, 2009

Several events over the past month caught my attention and reminded me of how both the current economic and environmental crises have exposed the global sense of hubris that is currently playing out in several local projects of varying scales in the greater Los Angeles metropolitan area.  In a recent set of fall lectures entitled “Architecture After Nature“, which were hosted by the Los Angeles Forum for Architecture and Urban Design, architect John May illustrated that we as human beings are adept at creating control systems whose design intent is to territorialize nature and eliminate it’s incompatibilities with our built environment.  May goes on to say that these control systems have become so complex that they present themselves as “environmental cure-alls”, which promote solving a vast array of conflicts that frequently arise in the juxtapositions inherent between the man made and natural environments.  However, these man-made systems do not actually solve these dysfunctional meetings between man and nature.  Instead, they merely exacerbate the effects wrought on humanity when natural systems collapse or collide with man made networks.  Worse yet, the control systems we have become so fond of relying upon are quickly outpacing our own evolutionary development, thus presenting the illusion that we are in control, when in fact, we are not.

I couldn’t agree more with John, and it was refreshing to hear someone not only question the current “green mania” that has gripped the architectural profession, but launch a much-needed attack on the discipline of Landscape Urbanism, which I’ve long observed to be simply a continuation of architectures complicit role in the expansion of capitalist power structures in contemporary urbanity.  There have been several examples of John May’s theories in the news lately, and while Dubai’s recent financial breakdown has been more or less played out in the press, the following two stories are fresh examples of systems infatuation inherent in contemporary urbanism.

Owens Valley, November 2009.

A view of the Sierras and the dry Owens Lake, November, 2009.

The Los Angeles Department of Water and Power, the largest public utility in the United State, is promoting a vast solar array in the Owens Valley dry lakebed.  Since the completion of the L.A. Aqueduct in 1913, as well as the later additions that followed later in the 20th Century, the Owens Lake has been almost bone dry, save for periodic irrigation to keep highly toxic dust storms from developing.  This court-mandated environmental solution has done little for the local ecology and the region has followed a pattern of slow decline as its water resources were diverted one-by-one to the larger municipalities to the south.  According to the recent Los Angeles Times article on the array, the DWP, which has been struggling to convert a percentage of its power output into “green energy”, is now proposing the 660 acre solar array on the dry lake bed arguing that it will not only provide Angelenos with the eco-friendly power their consciences desire, but will theoretically also keep the dust down on the dry Owens Lake bed.

Because of its relationship to the California State Lands commission, the DWP is proposing that it be exempt from the environmental review process.  If the project is successful at skirting both the State environmental review and dodging the inevitable onslaught of localized NIMBYism that is sure to follow, then the size of the solar array will be increased to an even larger portion of the lake.   Environmentalists argue, with a fair degree of certainty, that the structure will displace the migratory bird population that has come to rely on the ankle-deep flooding of the lake.  This proposal is indicative of John May’s argument in that by creating one system to deal with L.A.’s water deficiency,  another, more complex problem is created, which now will be mitigated with yet another technological control system that is intended to solve yet another series of problems which extend beyond the territory of the original control system itself.  This will no doubt, create more problems, and more solutions to those problems, which ultimately will fail, and will lead to more problems to be solved.  As ecologies are wrecked and whole habitats undergo environmental collapse, the expansion of the control system will endure, and as John May notes in his lectures might eventually become the only spatial terrain we have left to inhabit.

Gold Line Eastside crossing the 101 Freeway

Evening traffic on the 101 Freeway, as viewed from the new Gold Line Eastside light rail overpass exiting Union Station.

“In fact, the progress we’ve already made on a subway and light-rail network — full of delays and misjudgments as it has been — is remaking the physical and psychological terrain of Los Angeles in some profound ways. As more neighborhoods and landmarks are brought into transit’s orbit, their relationship to the rest of the city and region shifts, giving us a powerful means of seeing the built environment with fresh eyes.” –Christopher Hawthorne, L.A. Times.

On the transportation front, the Los Angeles Metropolitan Transit Authority has unveiled its newest light rail line, which will take passengers from Pasadena, through Union Station, Little Tokyo, and on into unincorporated East Los Angeles.  The Gold Line Eastside extension was originally intended as a subway, but after disastrous cost overruns during the early phases of construction, L.A. voters scuttled funding in the 1990’s for any new subway construction, killing the project for almost 20 years.  The MTA began looking at other options, which included light rail and a rapid bus system, called Metro-rapid.  The new part of the Gold Line (an earlier section of the line goes through Pasadena to Sierra Madre) is intended to serve East Los Angeles, which reportedly has the largest number of transit dependent residents in the Los Angeles metro area.   Despite its high immigrant working class population, this seems dubious given the low ridership projections from the MTA for the line.  Being that it is the victim of NIMBYism and political sabotage, the MTA has been relegated to playing a virtual “shell-game” with its emergent rail network, since its projects generally take a minimum of 10 years to plan and implement.  The time required to plan and build these lines is quickly outpaced by demographic shifts within the city, meaning that many of the constituencies that were meant to be served by the system are long gone by the time it arrives.  Further adding to the Gold Line’s logistical handicap is the fact in runs through Union Station and not Metro Center, which is the main link to the rest of L.A.’s light rail and subway system.  This logistical gaff has made it virtually impossible to efficiently get to the other trains on the line, and requires a transfer on the Red Line subway to the center of Downtown.  One can assume that a commuter headed to the western or southern sections of the city and initiating their commute from East Los Angeles will probably have to transfer in Little Tokyo to a bus in order to avoid the inevitable delays associated with multiple transfers.

However, one can’t dispute the future urban implications that the Gold Line and other light rail projects will have on Los Angeles, though my speculative projections differ from those of City Hall and Metro’s board.  Due to relentless waves of NIMBY opposition in more affluent parts of the city, L.A.’s rail network has developed primarily through poorer sections of Los Angeles.  What has resulted are a series of localized rail lines, which due to their limited range from existing working class job centers, make them inconvenient to most of L.A.’s transit-dependent population.  In addition, the slow operating speeds of most of these trains make taking one’s car a much faster option within the area serviced by the light rail.  While MTA planners suggest that light rail will ease congestion, one is doubtful that these transit projects will be able to undo fifty years of poor urban planning and L.A.’s glut of freeways, which despite continual widening, fail to reduce L.A.’s soul-crushing traffic patterns.

In his seminal book, Los Angeles:  The Architecture of Four Ecologies, Reyner Banham demonstrates that the beauty of Post-War Los Angeles from an urban point of view was that the cities Post-War development patterns had given birth to a whole new kind of urban organism.  Banham’s book stands today, more as an academic reading, than as a guide to the city, since the urban fabric of Los Angeles has mutated drastically since Banham’s observations- both geographically and socially.  However, if one was to use Banham as a muse, then L.A.’s rail mania and the new urban fabric it produces could easily stand in as a fifth ecology.  Whereas Banham delineated the city into geographies, whose articulations were most apparent in the architecture, infrastructure, and pop-cultural stereotypes that he observed on his driving tour described in the book, this new archetypal occurrence is neither geography nor pop-cultural detritus.   Without much analysis one can see that they present the message to developers and the politicians who support them that certain territories and locales once considered economically worthless by both the private and public sectors are now viable receptors for capital.  As these rail corridors and the existing social nodes that they connect flourish from infusions of development capital (post-recession of course), L.A.’s traffic congestion will not decrease, but rather another layer of congestive urbanism and physical complexity will be overlaid upon the existing city.  While planners, politicians, and the press promote these rail lines as projects that bring Angelenos closer together, evidence from the existing lines shows that L.A.’s rail system will have little impact on the crushing traffic and pollution that has made the city infamous in both cinema and the press.

However, while the arrival of rail and it’s connectivity to other select parts of the city is a welcome ecologically and economically friendly alternative to the automobile, a much more sinister reality awaits the neighborhoods that will be linked together with the emerging light-rail network.  As these new corridors of development are enhanced by the addition of light-rail, and property values rise, the original inhabitants of the now connected neighborhoods will become victims of gentrification.   These unfortunate economic casualties, marginalized by California’s lack of educational investment and job creation since the 1970’s, may be pushed into areas even more isolated from the rest of the city than their prior environs, thus exacerbating a social problem that will only get worse as the current economic instability hastens the export of L.A.’s remaining working-class manufacturing jobs to Asia and replaces them with service work.  Thus the city will not become more socially connected as Hawthorne suggests, but will instead continue to fracture and mutate into increasingly singular environments that are without any kind of deep social or economic linkage to one another, much less the city as a whole.  These locales will develop not in the traditional sense outlined by Banham, but instead will generate new territories who’s desirability hinges on its connectivity via rail and freeway rather than the traditional ecologies of terrain and ocean.  It is this connective tissue that will certainly be the most interesting as it certainly will create a new kind of Angeleno- one who does not know a world beyond the train or bus, and certainly one who does not need or want what the rest of the city beyond this new network has to offer.  These grey and white collar members of L.A.’s culture industry (the only major non-service industry really left besides the City’s logistics and shipping sectors) will use the train because it offers them the moral satisfaction of environmental consciousness, not because they depend on it to make a living.  Unlike their working class counterparts, who rely on mass transit to live out their daily lives, and truly need an expedient and ubiquitous option, many members of the culture industry work from home or on flexible schedules that allow them to commute at their leisure.  Thus for this privileged minority mass transit will become a lifestyle choice akin to buying a rare Trappist ale or outfitting one’s home with designer furniture.  Where artists and the converted lofts turned into galleries and foodie troughs once came to signal a neighborhood’s arrival as a hip destination, light rail too will eventually define the lives of L.A.’s creative class and the neighborhoods they occupy.  The losers in the scenario are the working poor of the city, who priced out of every locale within the inner city will be eventually forced into exile on the fringes of the well-connected metropolitan center, where public transit options are either too expensive or too costly for a working class family to afford.

The cautionary tale here is that no amount of planning and infrastructure can save the contemporary city from continued social and developmental instability.  Adding more rapid transit on the limited scale that L.A. is proposing will not solve its freeway congestion, or legacy of exurban hubris, just as covering up the city’s past environmental transgressions in the Owens Valley with solar technology will not repair the ecology of that area.   These strategies are merely infrastructural band-aids attempting to heal a larger problem that stems from decades of poor urban planning, socio-economic inequity, NIMBYism, and environmental abuse.  These problems will not be resolved through planning, politics, or infrastructural salves, but as John May outlined in his talks this fall, change will be experienced through potentially catastrophic systemic failures that will force us as a society to reconcile our relationships with the natural and built realms, simultaneously embracing forms of adaptation we have not even begun to consider.

“I HATE VAN HALEN AND I’M RIGHT”

September 29th, 2009

This Ain’t the Summer of Love

I had originally planned to post a review of Steve Waksman’s academic romp through the anals of Heavy Metal and Punk this week, entitled “This Ain’t the Summer of Love:  Conflict and Crossover in Heavy Metal and Punk” (UC Press, 2008).  However, after some of the responses I received both on Archinect and Twitter I thought perhaps that an expansion of last week’s post about SCI-Arc was in order as well.  Thus torn between my two loves, architecture and music, and unable to dedicate the time both sets of commentary would require, I’ve opted to filter the former through the latter in hopes of not only clarifying my position about the work at SCI-Arc, but to also satisfy my original goal, which was to deliver a review of Waksman’s book.  

In the 1979 and 1980 issues of Creem, a discussion erupted in the “Letters” section that was centered around both the classification and the status of Heavy Metal music and its assumed adversary, Punk Rock.  For fans of Heavy Metal, a genre that had suffered greatly during the Seventies due to the greed of major labels and by a general lack of progression in the music, the article “Is Heavy Metal Dead?” by writer Rick Johnson seemed to be the catalyst for a vigorous discussion (one of the memorable fan letters being the heading for this post)that would last for years in both scholarly and fan-based music circles.   For Waksman, the importance of this argument lay, not in it’s attempts to substantiate the dominance of either genre, but instead that the fan’s responses seemed to point to a much more complicated issue- that genre informs how audiences experience and synthesize popular music.   Fan commentary in the wake of Johnson’s article produced some rather poetic commentary such as I grew up listening to real Rock that is still being played by any respectable FM station in the country more than any of this New Wave bullshit, and by real performers who know what the hell they’re doing, and after 10 to 15 years, can still sell more records and tickets than any New Wave assholes alive”. 

For those people who have ever gotten in a fight with a friend about music, this probably sounds familiar.  However, it is these angry salvos, which ranged from ardent chest thumping to homophobic insults riding on the masculinity of Punk Rockers Johnny Rotten (Sex Pistols) and Iggy Pop (The Stooges).  What interests Waksman and forms his thesis for the text are four criteria which he applies to the analysis and critique of Heavy Metal and Punk Rock music to show that they are in fact one complex hybrid which lies in juxtaposition with mainstream Rock n’ Roll. 

These are:  Aesthetic value, exposure, gender, and history.  

With these criteria as his litmus, Waksman curates a trajectory of sub-cultures within both Heavy Metal and Punk in order to define how the two musical styles situate themselves within the trajectory of late 20th Century Post-Modern music culture.   While fans of the two sounds believed themselves to be different, both socially and aesthetically from one another, the research in the book demonstrates otherwise.  When one strips the visual stylings and commercial successes away from both camps, the music experience itself blends into a sound that rubs against the larger canon of Rock n’ Roll.  In short, aesthetics and commercial exposure don’t really matter that much, but instead what defines the music and sets it apart from the mainstream is its sincerity and purpose-driven desire for experimentation and technical innovation, all of which draw on either a connection to or a resistance against the accepted rules of popular music.  It is this action of response against the mainstream that both genres shared and cultivated throughout their early development, and one that was heavily reliant on external forces.  Heavy Metal music mutated and transformed the traditional guitar structures of Rock n’ Roll technique from the 1960’s, while Punk rejected technique all-together in favor of socio-political commentary.  However, without some kind of larger understanding of the cultural forces around them, both Heavy Metal and Punk would have never emerged from underneath the cloak of Rock n’ Roll.  Instead, they would have become mere footnotes, rather than the transformative genres which now permeate and influence the mainstream itself.     

The Queen is dead, boys…

September 14th, 2009

dic_091409_img2.jpg

“I said Charles, don’t you ever crave
To appear on the front of the Daily Mail
Dressed in your Mother’s bridal veil ?
Oh …
And so, I checked all the registered historical facts
And I was shocked into shame to discover
How I’m the 18th pale descendant
Of some old queen or other

Oh, has the world changed, or have I changed ?
Oh has the world changed, or have I changed ?”

The Smiths   The Queen is Dead

This famous song comes to mind as I think back to my brief excursion through SCI-Arc’s Thesis presentations this weekend.  An annual tradition, the work on display combines the labors of both the B-Arch and M-Arch programs at the school, and at one time was both a magnet for the general public as well as a chance for the school to fine-tune its position within the larger ideological galaxy of the design community.  The reviews attract some of the brightest minds in the profession, who form formidable juries to critique the work on public display.  There was a time when attending the reviews served as a kind of preview for the next wave of intellectual discourse and simultaneously demonstrated the school’s ability to surf above the dull flotsam of professional models promoted by NAAB and the A.I.A.  Over the past few years the work has been exceptionally questionable in both its mission and educational scope, leaving behind any kind of critical discourse in favor of the droll world of affect and computational representation.  While other schools, most notably the Bartlett and the AA, have ventured down the same rabbit hole, they have managed to erect a series of intellectual filters to guard themselves from becoming trapped in the world of techno-craft.  These conceptual scrims have kept the level of discussion balanced between larger socio-political issues brought about by globalization and the role technology plays in production and representation in both architectural education and professional discourse.   Without this important component, studio and seminar culture merely become props to forward the short-sighted project of teaching technique as a way of making, process or external stimuli be damned.  The problem with this weekend’s presentations was not the level or quality of the work produced (it was quite lovely to look at), but rather the sinister undercurrent of nihilism that permeated almost every project on display.  None of the work I saw seemed to have any grasp of reality beyond a vapid obsession with digitized ornament and form.    It was as if every student had become an expert at Maya or Rhino and used the software merely as a form of intellectual tweaking, rather than as a methodological catalyst used to drive the conceptual and social goals behind a project. 

When architecture reaches this level of mindless digital twiddling it is no longer playing any productive role in the development of modern society and is leaving itself to be exploited purely as a slave to capital.  One would’ve hoped that SCI-Arc as an institution would have been better at adapting to the current crisis facing the global economy and the schools thesis advisors would have encouraged this years students to develop projects that suggest responses for mitigating the current collapse facing not only the architectural profession, but society as a whole.  SCI-Arc students were once some of the best in the world at subverting the status quo and challenging the popular notions of practice and architectural production.  However, after this weekend it appears the school has continued to become yet another slave to the modes and mantras of late capitalism- Bigger, better, faster, slicker, MORE…

SCIARC_Thesis 2009

There isn’t much hope for the school so as long as it’s director, Eric Owen Moss is still at the helm.  Moss has made a mockery of the long-touted revolutionary philosophy once present at the school by first alienating it’s more competent instructors to the point where all but the most dedicated faculty left for other institutions, and then by appointing a succession of supplicants who appear unwilling to make provocative decisions with regard to its curriculum.  The mono-culture that has emerged renders the school impotent in the realm of architectural discourse.  At best it’s a “whipping-boy” for the promoters of an unflinching globalized architectural aesthetic, who have little or no interest in developing a discussion outside of the computationally-influenced language of the inner-academy.   This nihilistic pursuit of the “cult of the object” is no more apparent than in Moss’s egomaniacal installation currently on display in the school’s main gallery.  If Not Now, When?  is merely an artifice for the moneyed egotism that perpetuated the last decade of architectural excess and have profited off its failures.  It’s as if Moss and his young charges are like the aging Royals described in The Smiths song, “The Queen is Dead”.   They would like to go outside and experience reality, “But the rain that flattens my hair … Oh, these are the things that kill me …”

If Not Now, When? Oddly enough, when one considers the shockwaves that have hit the profession as a whole over the past year, one would’ve expected the projects in this weekend’s presentations to exploit the projective advantages posed by computational architectural language and digital tectonics in order to push the proposals beyond their performative or representitive trappings and into the socio-political arena where they might actually be tested against the criteria beyond the walls of the institution. With all of the formal posturing and technological craft happening in architectural education these days, a cogent evolutionary salvo from the edge of professional production would have been refreshing, as much as it would provide some much-needed optimism to this year’s SCI-Arc graduates, who will more than likely emerge from their educational cocoon into unemployment.  However, a cogent oppositional strategy would have required a unifying call for provocation at SCI-Arc from its director.

But for those who came to listen for the call, there was nothing but a familiar silence.

A Few Zines comes to Los Angeles

August 14th, 2009

A Few Zines, L.A.


So the Summer has been a decidedly busy one.  I’ve been lucky to be part of several projects since May and have been jetting about to China, and Berlin to teach a Summer Urban Design studio on behalf of Woodbury University.  In between trips I had deadlines for MONU, and working with designer Tim Durfee on the promotional material for the L.A. version of “A Few Zines” which opens today for a 72 hour run in the LA Forum’s Hollywood exhibition space.  As you may know from earlier missives, I have two zines in the show.  Sumoscraper, and Skyscrapers of the Dead were produced through my office, Urban Operations and I’m honored to be part of this traveling exhibition on zines.  Mimi Zeiger, editor of Loudpaper, and the instigator of “A Few Zines”, and I spent yesterday afternoon hanging the show in the L.A. Forum’s space.  The entre show currently fits in a small suitcase and traveled to Los Angeles with Mimi, who was also here for a book-signing of her newest publication Tiny Houses (2008, Rizzoli).  For the Los Angeles version of the show there were several new zines for the show and I added recent issues of MONU, and Mono which I’d picked up in Berlin at Do You Read Me?!- A shop, located in Mitte, that specializes in zines from the design, fashion, and art disciplines.  While the show is only in L.A. for three days, tonight’s event promises to be an exciting one.  Sponsored by the Los Angeles Forum for Architecture and Urban Design, Izze Sparkling Juice, and DJ’d by We Break Cameras, the show features an accomplished panel consisting of Juliette Bellocq, Todd Gannon, Wes Jones, Ted Kane, Paul Petrunia, Margi Reeve, and Mimi Zeiger.  I will be moderating.  You can learn more about the panel as well as the show itself on the Loudpaper site.  If you come hungry the kids from hipster ice cream sandwich truck Coolhaus will be there as will Marked 5, so come hungry.

Doors are at 7:15, and the panel is at 7:30.

The show runs from tonight, August 14th till Sunday afternoon.

“I don’t want to make money I just want to make wonderful”

June 22nd, 2009

barfcard

I noticed this phrase on the back of a T-shirt whilst walking to dinner here in Nanjing one evening.  The studio is over now and we’re spending the last few days here enjoying the sights and catching up on neglected work (I’ve got an article for MONU, a journal on design and urbanism due in a few hours and am feeling lucky that Europe is several time-zones behind Nanjing).  The students worked extremely hard, and produced some exceptional work dealing with field conditions in the city.  Our site was a rural island in the middle of the Yangtze and presented several challenges to the students.  We were focusing on Stan Allen’s concept of how field conditions shape the contemporary city and what constitutes a plausible augmentation or intervention in these fields.  The student came through with flying colors and I suspect are now recovering from too much beer and hotpot the night before.  Normally in this program we spend the last few days in Shanghai and Beijing, but due to the quarantine restrictions, the students went at the beginning of the trip.  As the prior post mentioned, I was in Beijing a little over a week ago and had several observations of note regarding the “Post-Olympic hangover” that has a grip on the city.

What I found to be most intriguing was the lack of inherent complexity to be found in the programmatic systems embedded within the Olympic structures.  I did not bother to tour the entire park, as the expansive size and lack of shade structures made crossing the Olympic Green a trepidatious affair and so I can only comment on the project’s highlights- the Olympic Stadium or the “Birds Nest” by Herzog De Meuron and the Water Cube by PTW Architects.  But first, some notes about the site- As several journalists have already pointed out in articles leading up to the Olympics as well as during the 2008 Games, the buildings in the Olympic Park are served up on an uninspiring mall that is more akin to a military parade ground than the kind of balance between hardscape, circulation, concessions, infrastructure, and landscape one would hope for.  On the particular day I was there, a hot wind was blowing out of the steppes of Mongolia and it made spending time on the Olympic Green uncomfortable to say in the least.  I can only imagine what it must have been like during the Olympics where the crush of people and the summer heat turned the space into a veritable frying pan.

2008 Olympic Park

The other problematic aspect about the Olympic Green space is that it does not appear to really ground or attempt to augment the architecture of the Olympic complex in any way.  The Olympic structures present themselves as if they were models on a table, and this is because they are conceptually tethered to what in all appearances is really a giant parking lot.  When one examines the layout of the park, it is obvious that the shear scale completely flummoxed the planning team.  The only real grounding elements that exist are the subway, with it’s collection of oddly Post-modern Chinese “gardens” and “hutong”, and the sublimely banal hotel and office towers that ring the parks edge.  These are mostly empty and seem to employ only security personnel whose job it is to keep the street people, and Olympic souvenir-hawkers off the private property.   Oddly enough, I walked the entire length of one of these structures looking for an ATM and found it no less unpleasant than my experience in the Olympic park, however, at least there was some shade to be found.

2008 Olympic Stadium (Herzon De Mueron, Architects)

The Bird’s Nest, whose name is somewhat suspect since it was leaked that the team at Herzog De Meuron only named it as such after concerns arose that it did not reference Chinese culture, looms on the horizon when one exits the escalator from the subway.  It is immensely popular with Chinese tourists who seem to be content either wandering about the Stadium’s massive sports-floor or, in an even stranger Post-modern twist, spending most of their visit sitting in the stands, where one suspects that they are mentally reliving the original event they saw on the television.  This obvious mass-nostalgic impulse fascinated me almost as much as the floor show of Olympic mascots who paraded about the stadium green until the heat sent them packing back into the air-conditioned locker rooms in the bowels of the stadium.

Stranger still was the Water Cube with it’s lacking entrance hall and almost high-school gym-like quality bleachers.  Most of the budget had obviously been spent on the glamorous exterior structure, which utilizes a structural space-frame wrapped in an ETFE skin.  Pollution had already begun to erode the plastic of the ETFE which was coated in a noticeable layer of dirt.  Closer examination of the interior showed obvious construction errors such as the running of HVAC ducting up an interior wall that was in plain sight, as well as the poor sight-lines within the hall itself.  With a structure this ornamental, one would think that more attention would be paid to how that it performed visually on the interior.  There was no continuity in how the roof and walls of the frame meet, nor was there any concern for how the internal program of the hall might respond to this intricacies of the structure itself.  The building is almost as popular with the Chinese as the Birds Nest and even has it’s own Website.

Water Cube with duct showing

In short, what both buildings give you is a pleasant wrapper worthy of a post-card, but not a visit.  They are as spatially vapid as the worst of architectural trash, and with the exception of the structure-to-circulation relationships to be found in the upper levels of the Birds Nest, are only imaginative, not innovative in their “objectness”.

Remarking on the quality of these projects, one would expect a higher degree of craft considering the Arup designed structural systems appear so expressive.  However, the Chinese simply do not seem up to the task.  Not being exceptionally concerned with details myself, I can cut them some slack, but when you have a building the size of the Olympic Stadium rusting away less than a year after it’s completion, you have to wonder what the future longevity of these structures might actually be.  A prime example of this is the Olympic Data Center.

datacenter overload

Designed by Studio Pei-Zhu architects, the structure was designed to mimic what the designers projected was a visual diagram of information flows.  The faēade uncomfortably recalls the datascapes from the Matrix and if the deficiencies of it’s visual appearance weren’t enough, the building had lost several panels off it’s faēade when I visited, confirming my suspicions that the entire Olympic Park was merely a stage-set, forgotten by it’s makers now that the production was over.  The fact that the transfer point for the Olympic Park on the subway contains this same flow faēade in it’s station platform design only seems to reinforce the reality that there is no conceptual rigor in the design of the architecture of the 2008 Olympic venues.  They are more media-scape than true architectural works, beckoning with an empty siren’s call that never delivers physical satisfaction.

The entire Olympic Park seems doomed to go the way of the famous “White City” of the Columbian Exposition or the burning Bucky Dome of the New York Worlds Fair.  Its architecture is largely useless now that the Olympics are over, and the tragedy lies in the expense, and the waste involved in such a folly.  Considering that contemporary China faces larger problems, such as exploding urban migration, housing shortages, and job cuts brought on by the powerful “correction” rendered to the global financial system in 2008, one might hope for more utopian solutions to the adaptive re-use of the park rather than the current plans, one of which includes a shopping mall.

The fact that the 2008 Opening Ceremony was purportedly enhanced by CGI effects for the television audience around the world leaves one wondering if the Olympics of the future might be simply presented in a digital environment, with teams competing on their own tracks at home.  Architecture could be left behind and the true culture of the games could present itself in it’s honest form- as a media-spectacle designed to enhance the prestige of nations who can afford the expense.

Water Cube Water
The possibility of this condition might reinvigorate the concept of the Olympics and present some truly wonderful possibilities in the realm of architecture and design, allowing architects to experiment with new ideas of programming space digitally.  This might lead to some truly wonderful solutions of how people share mass experiences on the Web and possibly reinvigorate the discussion surrounding the transformation of architectural program and how it responds to media-driven environments.

OLYP_barfcards

After all, we all want to make wonderful, don’t we.

“One Same World One Same Dream”

June 13th, 2009

One Same World, One Same Dream at the Olympic Stadium

I couldn’t help quoting Neville Mars, whose book The Chinese Dream:  A Society Under Construction (NAI Publishers, Rotterdam, 2008).  I’ve assigned as required reading to my students while here in Nanjing.  He of course is riffing on the real translation of the Olympic slogan from last years Summer Games which were held here in China.  The “One World One Dream” mantra couldn’t be closer to illustrating the spread of Capitalism here in China and I’m sure the larger irony of this slogan is not lost on Mr. Mars and his fellow contributors in the book.

I was sitting in my favorite Starbucks in Nanjing today and it dawned on me that I haven’t posted in a while and that I ought to comment on the situation here in China.  For those who don’t recall my experience last year, I teach a summer studio over here on behalf of Woodbury University.  Last year my colleagues and I were witness to the pre-game fervor of the 2008 Summer Olympics and I was anxious to return to observe what I predicted was going to be a rather large hangover.

While the financial effects of the Olympics have yet to be fully analyzed (or released by the Chinese government for that matter), the social impacts have begun to trickle to the surface like that “sour stomach” feeling you get after a long night of drinking.  Beijing itself remains seemingly un-phased, and the Olympic Park has possibly eclipsed the Forbidden City as the number one tourist destination for Chinese Nationals (Westerners, it seems, have not yet lost their obsessive fascination with history).  The one thing I noticed about the city was that “no picture” signs have popped up in some of the more popular hutong.  If I have learned anything from the Chinese during my visit last summer, it’s that they are impeccable hosts and generally willing to put up with almost all kinds of bad behavior from their Western guests.  So I can only imagine that the acts committed by Olympic fans last year had to be truly heinous to warrant the erection of the signs.

One Same World, One Same Dream

Nanjing has been a slightly more obvious case.  The night-vendors are gone from the streets at the gate of South-East University where our studio is based as is the local “taxi market” when I enjoyed several informative lessons in Chinese street-cuisine.  The pirate bookseller is gone as well and so for those of you expecting cheap, hacked copies of the most recent El Croquis- you’ll have to pay full price at home.   The Chinese are less excited about meeting Westerners on the streets and it would appear as though the novelty on both sides has worn off.

From my conversations with my hosts here at the university I gather that the true effects of staging the Olympics are yet to be felt.   A larger concern seems to be the Swine Flu epidemic, as was evidenced by the seven-day quarantine measures that almost every traveler must undergo upon landing at the airport.  I myself was given a box of masks, a thermometer, and a bottle of iodine wash when I arrived at the University last week and was instructed by a doctor to monitor my condition daily so as to ensure that I wasn’t a carrier of the flu.   The thought of being shipped back home in a bubble due to  a faulty temperature reading or even the slightest sign of flu does not interest me in the least, and I am happy to have emerged from my quarantine period in good health.

But back to the Olympics…

The most remarkable impact of the Games on life here is the increasing prevalence of “pay-to-play” Wi-Fi connections around the city.  Last year one could flip open their iPhone, Blackberry, or laptop and find a plethora of free Internet (most of which was faster than the LAN in the hotel where we were billeted).  Since arriving last week I have encountered almost no free signals outside of the normal venues- tea houses and restaurants.  The Starbucks where I get my breakfast occasionally, has traditionally provided free Wi-Fi, but now seems to be charging for it like they do in the U.S. and Europe.  Luckily the café below them does not and so I can still enjoy my croissant and cappuccino while scanning the NY Times on my Mac.  The diminishing points of free access are yet another example of how China is embracing the Capitalist principles of the West.  Log on to the Wi-Fi at the Starbucks or the Beijing airport and you’ll be directed to the national phone company’s site and prompted to enter a user name and password.  I don’t know Chinese so I can’t decipher the text, but I imagine one must enter a credit card number to sign up for an account.   This is troubling since even though the government censors most news sites, one can still access a lot of Western news agency sites like the New York  Times.  The fact that Internet portals are now being more carefully controlled by merchants only means that the average Chinese, who was before able to access the Web for free, must now cough up a hefty fee to log-on, thus closing off the Internet to many working class Chinese.

One of the inherent principles of the digital age is that information is the key product of capital.  While companies still make “things”, Western corporations are increasingly shifting their focus to generating and selling information.  As a recent New York Times article on data centers suggests, this is already having dramatic effects on the role architecture plays in society.  Here in China, the new buildings going up are merely stage-props, as evidenced by the Birds Nest and Water Cube at the Olympic Park.  They suggest progress by their appearance, yet do not perform in a progressive way.  From the outside these structures look stunning, and have become cultural icons that surpassed their original function.  On the inside however the buildings are banal representations of the programmatic requirements handed to the architects by their client.  There is no innovation in the social space created and much of the new architecture of modern China is formulaic at best.  This seems to be less the fault of the Chinese and more the result of too much being built too quickly.  Western architects have reveled in the building boom that has gripped pre and now post-Olympic China.  It has allowed many large offices to prosper, even as their U.S. and European operations fold under the weight of the global financial crisis.  The tragedy from my perspective is that an entire society is erasing it’s unique social-construct and embracing a Westernized view of space that is neither democratic nor progressive.   It has only allowed the “pirates of capital” to keep their slowly sinking ship afloat by grafting onto the insecurities of the new China and exploiting the chaos embedded within it’s current level of dynamic growth.

But more on that later…