tag:blogger.com,1999:blog-38552239017825908602024-02-23T21:02:56.372-05:00Oh Boymcbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.comBlogger66125tag:blogger.com,1999:blog-3855223901782590860.post-87065446039720476502017-07-26T22:39:00.003-04:002017-07-26T22:45:24.026-04:00Design Radical<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBJZ0NgzyTFf8BADOCZfiHoqTbwXGSOEkFw8VN6y_agWB64r7w5gTVmac2B2oIexBYj39oNWom07LmuxnSNe3iijsd2YBV6dsgzwK-RGK6yJ1sTlMPNU_dedtlITXVG-MCw3bdjcUGwMg/s1600/Vase-sottsass2-729440.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBJZ0NgzyTFf8BADOCZfiHoqTbwXGSOEkFw8VN6y_agWB64r7w5gTVmac2B2oIexBYj39oNWom07LmuxnSNe3iijsd2YBV6dsgzwK-RGK6yJ1sTlMPNU_dedtlITXVG-MCw3bdjcUGwMg/s1600/Vase-sottsass2-729440.jpg" /></a><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-large;">T</span>he retrospective of Ettore Sottsass at the Met Breuer boasts a
subtitle: <i>Design Radical</i>. Unfortunately, the radical aspect of the great
master’s work is something not explained, not emphasized, and ultimately not
clear in the context of this surprisingly conventional exhibition.<o:p></o:p></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: black;">I </span><span style="color: black;">remember seeing
Ettore Sottsass’ last produced ceramic vases in an exhibition in Cologne a few
months after the legendary designer’s death in 2007. In his late years of life,
the master reached an unprecedented clarity of vision. His designs became
uncompromising meditations on the essence of objects. A case in point is this
remarkable vase for Sevres: perhaps, the most conceptual design object ever
made.<br />
<br />
The vase itself is a utilitarian vessel: it resembles a traffic cone rendered
in plain bathroom porcelain. From the functional point of view, this is an
essential minimum that is needed for holding a bunch of flowers: no more nor
less. But what about the decoration? Aren’t vases supposed to have some kind of
decorative treatment? Oops, Sottsass seems to say, and he provides his
“decoration”: a functionless porcelain block in trendy chartreuse-green color,
dangling on the side as if an afterthought. This unusual decoration is not even
“applied” in any permanent way. Rather, a simple rope with two knots holds is
in place. Go ahead, remove it if you find it so annoying, Sottsass seems to
imply.<br />
<br />
However, if you mentally imagine this object without the green block, the
entire vase seems to lose its interest, or <i>raison d’etre.</i> The decorative
element may be absurd, yet it is absolutely essential for the object’s appeal. The functional is connected to the nonfunctional with a precarious
umbilical cord. One component feeds and supports the other. And here is the
lesson of the master: in our human experience, immaterial things like
decoration, color, emotion are as necessary as the function itself; without the
former the latter does not have much meaning at all.<br />
<br />
In fact, Ettore Sotssass' entire creative life was devoted to proving this
simple thesis. I wish the Met exhibition was able to bring this notion straight
to the visitors, especially to young design students of today. The new
generations should be able to see Sottsass not as a whimsical post-modernist
but as a true and timeless Design Radical.</span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: black;"><o:p></o:p></span></span><br />
<div class="MsoNormal">
<i style="font-family: 'trebuchet ms', sans-serif;">(This post is based
on my old blog entry of 2008)</i></div>
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cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com3tag:blogger.com,1999:blog-3855223901782590860.post-80767309422599490222016-10-10T19:50:00.001-04:002018-04-03T22:02:39.223-04:00Parallel Universe<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEu6hgIwP5HGNLL-ZLmGxuy_fSE_jg4JMz29jKYD472sf7enGaMZnyiD1flrLeJw0-3ugA2SUHTdEI1i-AGUz5PQ7NI-hINWhIj-Py1unIdICn_Ql_idYsXPYAA_TEzhXOQU2L5z_TckU/s1600/FullSizeRender.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEu6hgIwP5HGNLL-ZLmGxuy_fSE_jg4JMz29jKYD472sf7enGaMZnyiD1flrLeJw0-3ugA2SUHTdEI1i-AGUz5PQ7NI-hINWhIj-Py1unIdICn_Ql_idYsXPYAA_TEzhXOQU2L5z_TckU/s400/FullSizeRender.jpg" width="400" /></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-large;">H</span>aving recently returned from a trip to Peru, I have been captivated
with the history and material culture of the Incas.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">The Inca civilization developed without any contact with the
world outside South<span style="mso-spacerun: yes;"> </span>America. They built
magnificent and earthquake-proof<span style="mso-spacerun: yes;">
</span>structures and fortifications, but their builders did not know how to
make an arch. They connected their vast empire with a network of roads and
bridges, but they did not invent a wheel (it had almost no use in the mountainous
regions of the Andes). Most importantly, they had no writing; their records and
history largely depended on an oral tradition.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">If the Spanish conquest of the 1530s did not take place, it
is likely that the Inca Empire would continue on without these essential (from
our Western point of view) cultural accomplishments.<span style="mso-spacerun: yes;"> </span>As conquerors of every continent, <span style="mso-spacerun: yes;"> </span>we perceive our Western civilization as the
only possible alternative to the course of human development. Yet have there
been any other alternatives, along the way? What could have possibly happened differently?<o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">I recall the little book of Japanese essayist Junichiro Tanizaki
<i>In Praise of Shadows</i>, where he imagined a speculative world evolved from the
Japanese point of view:<o:p></o:p></span></div>
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<span style="mso-bidi-font-family: Calibri;"><span style="font-family: "trebuchet ms" , sans-serif;">“Suppose for
instance that we had developed our own physics and chemistry: would not the
techniques and industries based on them have taken a different form, would not
our myriads of everyday gadgets, our medicines, the products of our industrial
art – would they not have suited our national temper better than they do? … The
Orient quite conceivably could have opened up the world of technology entirely
its own.”</span></span><br />
<span style="mso-bidi-font-family: Calibri;"><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></span></div>
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<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">Indeed, contemplating the alternative possibilities for our
material universe should be a fascinating subject matter for designers and
design students alike. Conceptual speculations of this sort are guaranteed to
yield many new discoveries and inventions.</span><o:p></o:p></div>
cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com0tag:blogger.com,1999:blog-3855223901782590860.post-57694993823878838962016-04-16T13:50:00.005-04:002016-04-16T13:54:54.392-04:00Designer Robinson Crusoe<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaJqtYbi8pYqWz9OOHLleM2uYJ4iaK1npVIax-FqOj1xzbuY29VLRpGBQMPa8-lF2EzNRo4cnokojJguYI-kZz923ZcGawAgzjxURjetJ_4kehMgSW5usDhR2n1QGMU53glhI-wY9mC9M/s1600/Crusoe-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaJqtYbi8pYqWz9OOHLleM2uYJ4iaK1npVIax-FqOj1xzbuY29VLRpGBQMPa8-lF2EzNRo4cnokojJguYI-kZz923ZcGawAgzjxURjetJ_4kehMgSW5usDhR2n1QGMU53glhI-wY9mC9M/s320/Crusoe-4.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-large;">A</span>fter about 50 years, I decided to re-read
the book <i>Robinson Crusoe</i>, driven by a suggestion of architect Daniel Libeskind,
of all people. Talking about our primary need for furniture, Libeskind mentioned
how Robinson Crusoe, barely having settled on his island, had an overwhelming desire
to have a chair and a table:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><i>“I began to
apply my self to make such necessary things as I found I most wanted, as
particularly a chair and a table, for without these I was not able to enjoy the
few comforts I had in the world, I could not write, or eat, or do several
things with so much pleasure without a table.”</i><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">Only when Crusoe fashions these items–with
great expense of time and labor– he is able to sit down and start his Journal,
which continues for the next hundred pages of the book. Daniel Defoe’s book has a strange double
life. In simplified abridged form it became a timeless bestseller, an adventure
book for children of all ages and all nations. The original version, however,
is a more complex existential narrative, full of doubts and reflections, an
example of one of the first psychological novels in history of literature.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">Still, what attracted me – and probably
Daniel Libeskind as well – was the fact that <i>Robinson Crusoe</i> had been also a
first book about design. The material culture of things, processes, and making is the most important part of the narrative. The list of items that Crusoe
salvaged from the wrecked ship takes many pages, and it makes a surprisingly fascinating
reading. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">What follows is even more captivating. Defoe
provides detailed descriptions of how his hero conceived, planned, and made
things that fulfilled his daily needs for a relatively comfortable life in the
wilderness. All in all, Crusoe’s method
is not very different from the approach of today’s environmentally conscious
designers, for example:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">– Recycling, re-purposing of materials and
resources, both natural and man-made.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">It turns out that almost anything could be
procured or made from the limited supply of available materials and tools.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">–Slow design. It takes him weeks, and
sometimes months, to make relatively straightforward items, yet the results are
infinitely satisfying.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">– Desire for beauty and perfection. Crusoe is
not satisfied with mere functional aspect of the items he made. Not without a
sense of humor, he constantly comments on awkwardness and ugliness of things he
was able to make, due to his lack of skills and proper tools. His first fired
claypots functionally served him well, but they looked “as the children make
dirt-pies”. After subsequent experiments with self-made potter wheel, Crusoe
proudly notes:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><i>”I arrived at an
unexpected perfection in my earthen ware and contrived well enough to make them
with a wheel, which I found infinitely easyer and better; because I made things
round and shapable which before were filthy things indeed to look on.”</i><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">If anything,
this is an essence of design. “Robinson Crusoe studio” could be a great
assignment in today’s design college. When students spend a semester
reinventing everyday things with limited supplies and minimal tools, they would
reassess the abundance of our material culture, which we too often take for
granted.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment-->cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com0tag:blogger.com,1999:blog-3855223901782590860.post-76234381325102519032016-01-06T21:16:00.003-05:002016-01-06T21:20:29.550-05:00Post No Bills<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCaOOdC0pIiaoJesc6KmDEST-1eKmrYZPSKdAw4Cdq5Qqi6j5dQoedTlKFYWAQv3fuxiu8XR28CkOQHQjXGvkcEGF0uSJgavcTrJvEXpmuDNvJy1XX491d7LMLePKdVzqv5llpDs2wbFU/s1600/Post+no+bills.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCaOOdC0pIiaoJesc6KmDEST-1eKmrYZPSKdAw4Cdq5Qqi6j5dQoedTlKFYWAQv3fuxiu8XR28CkOQHQjXGvkcEGF0uSJgavcTrJvEXpmuDNvJy1XX491d7LMLePKdVzqv5llpDs2wbFU/s400/Post+no+bills.jpg" width="400" /></a></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: x-large;">E</span>veryone in New York sees them every day.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">As long as the city’s
real estate boom goes on, new construction sites are popping in every
neighborhood, surrounded by rough plywood fences painted blue or dark green. On
these walls, every dozen feet or so, there is the inevitable sign: POST NO
BILLS. In my own neighborhood, the Lower East Side, hundreds of these stenciled
messages appeared seemingly overnight, as construction of the mega-project on
Essex Street picked up steam. Finally, I paid attention.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Curiously, this everyday insignia is perhaps the last piece
of history remaining on redeveloped city sites. The language itself says it
all: to most people today, “bills” mean electrical or phone bills, not
advertisements. “Posting” means writing something on one’s blog, not affixing
anything on the wall. Where does this expression come from? I spent some time
on the Internet, but failed to determine the origin of the sign. One thing is
clear: it is old. There was a short silent film, made in 1896, called <i>Post No
Bills</i>, where two street urchins squabble over pasting their bills over a wall, only
to be chased by a policeman – a quite contemporary situation.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">What interests me most, however, is the “design” of the
stencil. There are variations, but they mostly follow the same arrangement:
three words stacked up in a roughly square format. There must be someone,
generations ago, who came up with this layout, which continues today all around
the Unites States with little or no change. The stencils for making these signs
are offered for sale by several manufacturers online (at a steep $40-$50
apiece). Surely, no royalties are paid to anyone. One unknown designer, like
Milton Glazer of a bygone era, remains responsible for an icon that handily
outlived his own time.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Everything that has been designed, could be re-designed. I
keep wondering when some stencil-making company commissions Stefan Sagmeister –
or even Pentagram – to come up with an alternative POST NO BILLS look, the one
they’d consider more fitting for upscale neighborhoods of Chelsea or Upper East
Side. </span><o:p></o:p></div>
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cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com0tag:blogger.com,1999:blog-3855223901782590860.post-36492389115437116752015-08-17T20:55:00.000-04:002015-08-17T21:00:36.540-04:00Designing His Life and Death<!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmG3_u6TBXLs0IgmQ95_L5drhVZ5egYKnmkqF3kgZ_Bjr92LzrmirVJqSGdIP0BpXZWygXN4cpfMQPQyqmqWpD9pIq7fTwujh89IZsUO4RYojayl307mMTZNv1XiTCGAkUjJsUK3jiwgE/s1600/theprofessor_professing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmG3_u6TBXLs0IgmQ95_L5drhVZ5egYKnmkqF3kgZ_Bjr92LzrmirVJqSGdIP0BpXZWygXN4cpfMQPQyqmqWpD9pIq7fTwujh89IZsUO4RYojayl307mMTZNv1XiTCGAkUjJsUK3jiwgE/s400/theprofessor_professing.jpg" width="280" /></a></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: x-large;">I </span>will never forget my first encounter with Steven Holt. In
1986 I moved to New York City, fresh from two exhilarating years at Domus
Academy in Milan, anxious for attention to my work and eager to make a mark – the
goals that proved highly evasive at first. Walking on West Broadway in Soho –
it was a sunny day in spring or early summer – I heard someone calling my name.
I turned and saw a blond guy of my age, who was flashing a most incredible and
contagious smile: “Constantin? I know who you are!” At the time Steven was the
editor of I.D. magazine: he probably received and remembered my odd mailers. Our
first long conversation took place on that sunny sidewalk. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">If there ever was such thing as professional love at first
site, that was it. Many more talks followed, then joint projects. In design, we
liked and shared many similar things: conceptual clarity, cultural sampling and
pop-culture mash-ups, humor and provocation. Andrea Branzi and Ettore Sottsass
were our mutual idols. Eventually Steven brought me to teach product design at Parsons,
thus setting my career on the long track of research and experiment. Then, at the height of his professional
standing in the New York design scene, Steven surprised everyone by his
decision to leave for post-graduate studies at Stanford. After his departure I
took over his job at Parsons and his apartment in the Village. It seems, in our
relationship I was always on the receiving end.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Steven’s life in San Francisco has been interesting and a
little mysterious. For years he had an official title of “design visionary” at
frogdesign, and only laughed when I tried to inquire about precise nature of
such work. Then he taught at CCA, becoming a distinguished professor, beloved
by generations of students. In San
Francisco he met his wife Mara, with whom he shared everything, from their
combined name to joint efforts in writing books and curating exhibitions. Their
apartment, and their life itself, was like a curated display of books, art, and
design. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">For as long as I can remember, Steven’s health was a
problem. Occasionally, he would disappear from radar for weeks, if not months:
not pick up his phone, leave <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">e-mails unanswered. One of these bad periods happened when I
was working on my first book <i>Curious Boym</i> in early 2000s. I could not picture
anyone but Steven writing an introduction when he was overcome by another bout
of his illness. Weeks went by without any communication. The editor already
gave up, yet Steven’s article arrived just on the deadline; it is a best piece
of writing in the entire book. Over the years, I got to rely on him always coming
back, and saving the day with his inimitable goofy smile. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">When I received Steven’s good-bye call on August 11, at first
I was certain in another prompt comeback. Yet this time it was different. Just
like he was designing his whole life, Steven Skov Holt took pains to design his
own death. With help of Mara, every detail has been worked out. His body was
pledged for hospital surgeons’ training, while his brain was to go to
Alzheimer’s research. He called his close friends to say farewell. They videotaped
his message to the future, “a culmination
of what he believes design can and should do in the world and for the world”,
in Mara Holt Skov’s description. On August 13, 2015 Steven passed away in his
living room, in the company of his wife, his son Larson, and his mother,
surrounded by his favorite objects and books, with Jimi Hendrix playing in the
background.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">He said he was a happy man.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<o:p></o:p><br />
<!--EndFragment-->cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com0tag:blogger.com,1999:blog-3855223901782590860.post-82202149712054643802015-07-22T21:09:00.002-04:002015-07-22T21:09:50.308-04:00Flags to Rags
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC7SdNTaMrv32ew5bExBCDPJTOz4UCMnPb_MB_RampCcnAq98TgvJX9Y4ZXJuJ917Fx_5qJdKnFN7yDotZuVlmLPCwDCEPOkXwjR_3-n88bFSYe2i34v07l6efBAM4rORTEgqZct3qxUw/s1600/Flags+to+rags.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC7SdNTaMrv32ew5bExBCDPJTOz4UCMnPb_MB_RampCcnAq98TgvJX9Y4ZXJuJ917Fx_5qJdKnFN7yDotZuVlmLPCwDCEPOkXwjR_3-n88bFSYe2i34v07l6efBAM4rORTEgqZct3qxUw/s400/Flags+to+rags.jpg" width="400" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: x-large;">F</span>lags to Rags<span style="font-size: 14pt;"> </span>are kitchen towels, which feature flags of
countries that no longer exist.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"> <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">“Flags are
among the most immediate, primal, and communicative forms of design. They are
made of icons and become icons themselves,” wrote Paola Antonelli, MoMA’s
senior design curator. But what happens when an icon outlives its’ time and
purpose? The leftover flags are sometimes venerated, and sometimes reviled – often
at the same exact time. Their function is far from clear. Our project of
kitchen towels plays with this historical and cultural ambiguity. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The original
set included flags of the U.S.S.R. (†1991), German Democratic Republic (†1990),
and Yugoslavia (†1991). Recent controversy that surrounded the display of the Confederate
flag, prompted us to add it to the <i>Flags
to Rags</i> collection (†2015).<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Trebuchet MS, sans-serif;">These cotton
towels are perfectly functional. The flag iconography not only endows the
cloths with an additional layer of meaning, it also challenges their suggested utilitarian
usage. <i>Flags to Rags</i> demonstrate how critical
design can enrich and subvert a conventional object’s experience.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The towels
are not yet in production. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<!--EndFragment-->cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com2tag:blogger.com,1999:blog-3855223901782590860.post-4354015596622415222015-06-22T12:32:00.001-04:002015-06-22T13:07:17.511-04:00If Edward Hopper were alive<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtPL2OLlTTCK59-mldXnCP4U5tQBfWm3ForxzfSh8fag_LQo_xiU11Yi_l61HrSJ249z6NYl6ZNiupAoTZ22_2eR6BsQJR_RybZgu_ROebUSqqVf88N7A1wDecJDwEdF0l_vH2K2Y84Jo/s1600/automat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtPL2OLlTTCK59-mldXnCP4U5tQBfWm3ForxzfSh8fag_LQo_xiU11Yi_l61HrSJ249z6NYl6ZNiupAoTZ22_2eR6BsQJR_RybZgu_ROebUSqqVf88N7A1wDecJDwEdF0l_vH2K2Y84Jo/s400/automat.jpg" width="400" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: x-large;">E</span>dward Hopper (1882-1967) is one of my favorite American
painters. His works featured common urban and suburban landscapes: gas
stations, motels, bars, office suites.
In contrast to the more upbeat and sentimental portrayal of American
life in the 1940s-50s, Hopper’s work often expressed alienation, anxiety, and
loneliness, prefiguring our contemporary sensibilities and interactions.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Trebuchet MS, sans-serif;">It should be said that his urban settings now belong in the
past. Today, an average city restaurant, hotel, or office building represents a
vastly different picture, a scene which is more crowded, hip, and hyperactive. Yet
recently, during my evening walks through the streets of Chinatown, I have
discovered spaces, which would likely be an inspiration for Edward Hopper if he
were alive and working today.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Trebuchet MS, sans-serif;">These are waiting areas for Chinatown intercity buses.
People who travel on these usually cannot afford going by plane or even by
Amtrak, nor do they own a car. The waiting rooms are open late into the night.
They are strangely modern and generic, and exceedingly brightly lit. The loneliness
and boredom of the waiting passengers is nearly palpable. The only
communication that exists in these impersonal spaces is between the people and
their cellphones. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: #1c1c1c; mso-bidi-font-family: Helvetica;"><span style="font-family: Trebuchet MS, sans-serif;">“The
spare bands of color and sharp electric shadows create a concise and intense
drama in the night”, these words of one of the Hopper’s scholars could well
apply here. Fifty years after Edward Hopper’s death, his timeless paintings still
resonate.</span></span><o:p></o:p><br />
<span style="color: #1c1c1c; mso-bidi-font-family: Helvetica;"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span>
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBMLPRpA-9dD-7C0gLrrAX6YA4Gnwm0hDd-spTxMW8ZN4aWmkksW0ZG1VWmWHJ8QA30T36rga3R_X9JdZ5K9c6ecs40bDjC9StIDw4IJUV9sBI4uw2q0HTM9DHhp71lP8s4FMUmRH5HLc/s1600/*Hopper4*.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBMLPRpA-9dD-7C0gLrrAX6YA4Gnwm0hDd-spTxMW8ZN4aWmkksW0ZG1VWmWHJ8QA30T36rga3R_X9JdZ5K9c6ecs40bDjC9StIDw4IJUV9sBI4uw2q0HTM9DHhp71lP8s4FMUmRH5HLc/s400/*Hopper4*.jpg" width="400" /></a></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQLvXz8fm5AhBOCrlAiaFoETY8DS-7K-7VPHDkVYcIc2kkErBkTELN_KDghiks-wgWlbNir4K8Bj-BpoYMHsr1YXfoxpdvj90qZgqJ6NK9WKi-wxFStG3qeXDz1Y6kQxnxAJl4xrtRzfQ/s1600/*Hopper2*.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQLvXz8fm5AhBOCrlAiaFoETY8DS-7K-7VPHDkVYcIc2kkErBkTELN_KDghiks-wgWlbNir4K8Bj-BpoYMHsr1YXfoxpdvj90qZgqJ6NK9WKi-wxFStG3qeXDz1Y6kQxnxAJl4xrtRzfQ/s400/*Hopper2*.jpg" width="400" /></a></div>
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<!--EndFragment-->cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com0tag:blogger.com,1999:blog-3855223901782590860.post-92200170890132345322015-06-04T16:45:00.000-04:002015-06-04T16:59:36.353-04:00Free Grass<!--[if gte mso 9]><xml>
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NYC</i>, aimed at greening of New York City’s urban environment. The considerable
cost of this program was something not often mentioned in the press. Yet much
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<span style="font-family: 'Trebuchet MS', sans-serif;">Beat-up Lower East Side streets have grass that spontaneously grows
in cracks of the pavement, between a street curb and sidewalk, or around
concrete and brick walls. These strips of grass remain unnoticed – and
sometimes they even get eliminated. But what if we spread and cultivated these
“cracks” until they transform the sidewalks of the city into a pattern of decorative
and friendly green surfaces? Introduction of special metal channels will
control the growth, preventing any further deterioration. Once put in place, these grass strips, like
all weeds, will go on forever.</span><br />
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-large;">M</span><span style="font-family: 'Trebuchet MS', sans-serif;">y new book </span><i style="font-family: 'Trebuchet MS', sans-serif;">Keepsakes: A Design Memoir</i><span style="font-family: 'Trebuchet MS', sans-serif;">, published by Pointed Leaf Press, is scheduled to launch in May 2015. The objects, discussed in the book, bring up stories about my life and work, my parents, friends, and design colleagues with whom I was lucky to study and work in Russia, Italy, and America. In anticipation of the book, here is one of those stories...</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: x-large;">F</span>or me, Domus Academy was a life-changing experience, in the
most literal sense of the word. I arrived there as a Russian architect from
Boston, and by the time of my departure in 1985 I became a designer, and headed
for New York. Somewhere along the way, my Russian-American wife Svetlana and I
had separated. In spite of the hardships of yet another start in America, I
felt strangely liberated. The vast world of objects has opened up for me, as if
I learned how to speak their language.</span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">To own anything designed by Ettore Sottsass, was a longing
shared by many young designers at the time. Yet his objects, no matter how
democratic in spirit, were inevitably expensive and mostly out of reach. With
much anticipation, I followed the development of the telephone set <i>Enorme</i>, which Sottsass designed in
collaboration with David Kelly from California. An amalgam of Memphis style and
Silicon Valley technology, the new phone was supposed to be colorful,
functional, and affordable—in other words, perfect. I bought the phone as soon
as it became available. The set’s monumental receiver could stand vertically,
like a skyscraper, in a phallic gesture frequent in Sotssass’ work. This erect monolith loomed larger than life
in the tiny studio in which I was living. The heavy earpiece seemed to give
substance to even the most trivial conversations. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">By 1987 I started teaching at the Parsons School of Design
in New York. In one of my evening furniture classes there was a student named
Laurene Leon, a young art school graduate, who loved everything about Italian
design. Obviously, we had much to talk about. By the end of the semester we
were going out. I proudly demonstrated
my Sottsass phone to my new girlfriend, but was taken aback when she soon got
an identical one in her own place uptown.
In response to my inquiries, she told me a slightly incredible story
about her co-workers pitching in to get her this “great present” for the
holidays. Eventually, the truth came out. The phone was a gift, all right, but
it came from Laurene’s old boyfriend, a French dude who was well versed about
her design tastes. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">The battle of the two <i>Enorme</i>
phones continued for a while. Needless to say, I won. Soon, Laurene and I moved
in together, and after the completion of her graduate design program at Pratt,
we started to work together. Throughout the years, Laurene has been my
indispensable guide through the intricacies of the American cultural landscape.
With me, she went through the ups and downs of our studio, sharing everything,
including most of the projects in this book. Twenty years later, our
collaboration goes on.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">We still have both of our Sottsass phones. Laurene’s was
barely taken out of the box. Mine has been used well and happily, until new
technologies gradually rendered it outdated. We no longer need landline telephone
service, but who cares? Product obsolescence does not apply to keepsakes.</span><o:p></o:p></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<!--EndFragment-->cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com1tag:blogger.com,1999:blog-3855223901782590860.post-83985308250457751802014-05-26T12:02:00.001-04:002014-05-26T12:11:12.077-04:00The 9/11 Souvenirs<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijUr9dEfqydTWEHNkrnkxXSzv4z5fsTvmUooXHeGdQzF_bJrM7nEQZZ0mHi7ZllOAhK_zAzzKB3RORRKZ6BtGJuSerh3TbG5DlMjrYupej3s0fHEnMTVvyFoinlGLvguR25APKW0hQfOQ/s1600/911museum53.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijUr9dEfqydTWEHNkrnkxXSzv4z5fsTvmUooXHeGdQzF_bJrM7nEQZZ0mHi7ZllOAhK_zAzzKB3RORRKZ6BtGJuSerh3TbG5DlMjrYupej3s0fHEnMTVvyFoinlGLvguR25APKW0hQfOQ/s1600/911museum53.JPG" height="298" width="400" /></a></div>
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: x-large;">T</span>he opening of the 9/11 Museum has predictably generated a
stream of media coverage, Internet responses, and images on social media. Not
so predictably, the long-awaited event has initiated another, smaller, stream
of reviews related to the museum’s gift shop and its souvenir merchandise. This
second stream greatly differed in tone and attitude from an overwhelmingly
supportive and positive reaction to the Memorial itself. “The 9/11 Museum’s
absurd gift shop”, called it an article in <i>New York Post</i>. “Just how crass is the 9/11 Museum’s gift
shop?” asks the website <i>Gothamist</i>, citing the cheese plate in the shape of the
continental US with hearts indicating the places of terrorist attacks. Some
visitors go further, questioning the very presence of shop on the site. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The gift shop is, of course, there to stay. The museum’s
spokesman sites the financial needs, and notes that “many of our guests from
the 9/11 community have visited the shop and purchased a keepsake from their
historic experience”. The truth is that
a gift shop, just like cafeterias and restrooms, is an expected component of
any museum, including the ones devoted to tragic and sensitive historical events.
The real question to ask is what kind of merchandise is acceptable, and what is
not acceptable, in these very special circumstances. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">The idea of a <i>souvenir</i> of 9/11 is almost an oxymoron. After
all, we all remember that day too well, whether we witnessed the tragedy directly
or watched it unfolded on television screens. What kind of object is needed to
keep memory of this already unforgettable event? <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">When such object is conceived as a functional item (like the
above mentioned cheeseboard), the very idea of combining the “sacred memory”
with a trivial use renders the object distasteful. The memory is trivialized by
the suggestion of a banal everyday activity. A poster with the 9/11 graphics is
OK, but the same image on a shower curtain is not. A postcard is fine, but a placemat is
not. The 9/11 toy fire trucks and
stuffed search dogs were criticized not only because of their inappropriateness
for children, but also because of the association with game, playing, and the overall
context of a toy box where such items usually end up.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Then, there is an issue with decorative pieces of jewelry
and clothing. Vanity items with 9/11
imagery, like earrings, tie pins, scarves, tend to belittle the memory of the event
they are attempting to commemorate. Once again, the context is wrong: the
memory cannot be worn in the earlobe, affixed to a lapel, or get tied around
one’s neck. One exception might be the T-shirt, a quintessential American
typology, which since 1960s served as people’s personal billboard for
expressing their opinions, preferences, and memories.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">In my opinion, 9/11 memorial merchandise should be devoid of
all unrelated functionalism. The souvenir will be interpreted as an abstract
object, a psychological “container”, where the users could put their own
personal memories and emotions. Imagine a series of cubes, like miniature
memorials, crafted out of marble, bent steel wire, glass… <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">But would people buy those metaphysical objects? That’s
another story.<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuP2a4iT1hQCzQSocWcL6hfRqMJ_klTb8pjP8N8UgFtmnUoOCQP2DfhjxNG-jBYDKToRqxdv4f5w_7PsJ72OdJQrq_soHpKv-2T24_RgsI5F3_xvqgr6kdyjBvadXAgvUDAcH36YVAIko/s1600/Cube+3+and+4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuP2a4iT1hQCzQSocWcL6hfRqMJ_klTb8pjP8N8UgFtmnUoOCQP2DfhjxNG-jBYDKToRqxdv4f5w_7PsJ72OdJQrq_soHpKv-2T24_RgsI5F3_xvqgr6kdyjBvadXAgvUDAcH36YVAIko/s1600/Cube+3+and+4.jpg" height="440" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEharjaWDUiqWUtmBFVAqt1Z56RuvYeoaIDFNYOp1yxCGZg8HEdw23VSSyUkWyjWJW0sgHeamtD_6QVLXwrzTIJwLbFWzAM77V2knnc5AkaKu3hEGba0MjHAzR9v2c195XeP1ugLEYRB-ow/s1600/Cube+1and+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEharjaWDUiqWUtmBFVAqt1Z56RuvYeoaIDFNYOp1yxCGZg8HEdw23VSSyUkWyjWJW0sgHeamtD_6QVLXwrzTIJwLbFWzAM77V2knnc5AkaKu3hEGba0MjHAzR9v2c195XeP1ugLEYRB-ow/s1600/Cube+1and+2.jpg" height="443" width="640" /></a><span style="font-family: Trebuchet MS, sans-serif;"></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<!--EndFragment-->cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com0tag:blogger.com,1999:blog-3855223901782590860.post-25055402198451512152014-03-15T12:59:00.000-04:002014-03-15T13:08:32.408-04:00Monument Without a Hero<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisByqDj5Fy4hrIB_AQ8e5tleSvGBdKLPNPLv2aJJXutdKKqRjXSyVWHyULTu__tVzc7PEyFZztefzKWysLEpzotxNA0hwCJPkBEn-bOhgXAAcZgEeXVZoqOeaaZNCPjRnyI1O-cF9IRPQ/s1600/Boym_Image_1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisByqDj5Fy4hrIB_AQ8e5tleSvGBdKLPNPLv2aJJXutdKKqRjXSyVWHyULTu__tVzc7PEyFZztefzKWysLEpzotxNA0hwCJPkBEn-bOhgXAAcZgEeXVZoqOeaaZNCPjRnyI1O-cF9IRPQ/s1600/Boym_Image_1.JPG" height="400" width="262" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: x-large;">N</span>ot many people know that there is a Soviet monument
standing in the middle of Manhattan. It has been there for over fifty years, still
intact, even though two decades have passed since Soviet Union’s demise. The
site of this sculpture represents a unique opportunity to be re-imagined for
the proposed Cold War Victory Monument.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The bronze statue stands in the gardens of the United
Nations. The monument is the work of Evgeniy Victorovich Vuchetich (1908-1974),
a preeminent Soviet sculptor of Socialist Realism, a recipient of Lenin and
Stalin Prizes. It was a gift from the USSR to then newly built UN Headquarters
in New York. Presented in 1959 as a symbol of Russia’s peace-loving policies (three
years before the Cuban missile crisis would nearly put the planet on the edge
of nuclear war), the sculpture carries an allegorical meaning. Its title
derives from the Bible quote (Isaiah 2:4) – “We Shall Beat Swords into
Plowshares” – a surprising source for a gift from an atheist State. In spite of
its emphatically peaceful message, the statue has a strangely threatening
appearance. A violent action is emphasized over a promise of harmony. Indeed, the
muscular figure seems ready to crush the viewer with his giant hammer. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">It is hard to find a better symbol of the Cold War than this
monument. All attributes of Cold War are
present: its bombastic propaganda, its sinister double-speak, its masculine
impact of brute strength. The worker’s menacing hammer, while not as
destructive as a Kalashnikov, still proved to be a fitting tool for building
the Berlin Wall, for setting military bases around the globe, and for pounding
many nations into submission.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">I propose to send the old worker home to Moscow (to the Park
of the Fallen Monuments, now known as Museon), together with his menacing
hammer. His never finished job – a half-beaten sword – will remain on the
original pedestal.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuBYrJaSU7sfHgQXm39rIEWUPJB2uNzf3n1UhMEVM2syG7zRErkNVuSe83rHgiMThtQrHf7sSerDfm_Gp9Slg6q2aPnonqMe_UI5SPt-MNEuYS8TSBrz_1hPA1cxKw3Dtp4ArMMBV7O3g/s1600/Boym_Image_4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuBYrJaSU7sfHgQXm39rIEWUPJB2uNzf3n1UhMEVM2syG7zRErkNVuSe83rHgiMThtQrHf7sSerDfm_Gp9Slg6q2aPnonqMe_UI5SPt-MNEuYS8TSBrz_1hPA1cxKw3Dtp4ArMMBV7O3g/s1600/Boym_Image_4.jpg" height="400" width="297" /></a></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">This new incomplete/ruined memorial, a monument without a
hero, thus becomes commemoration of victory in the Cold War. The victory is
seen as subtraction, as removal of a failed historical alternative, – and as
opening the stage for new actions.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Recently, there was a short-lived opportunity to implement
my proposal in Moscow, on the site of Museon. In the absence of real bronze
figure, I proposed to install a full-size wooden crate, complete with the destination
(<i>from: UN, New York to: Museon, Moscow</i>), the description of goods (<i>the statue
“We Shall Beat Swords into Plowshares”</i>), and the message (<i>Cold War is Over</i>).
Once again, a monument without a hero. Yet here, the sculpture’s suggested
presence creates a tension: this monument is displayed and hidden at the same
time. <o:p></o:p></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmlxN_G0KX2_-9u4PDeN8jabUEVfqWXRnr9khqMDldqkjczhICxAEtR7Im5St8i_6vuTWtOg4R_EW7TpYgOrROc2i5Pm3CUtYzF6xKHP63yOq1OgChQGmuH50Vkzs2t9ghFnEg_0Y7Eyg/s1600/Screen+Shot+2014-03-15+at+12.57.47+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmlxN_G0KX2_-9u4PDeN8jabUEVfqWXRnr9khqMDldqkjczhICxAEtR7Im5St8i_6vuTWtOg4R_EW7TpYgOrROc2i5Pm3CUtYzF6xKHP63yOq1OgChQGmuH50Vkzs2t9ghFnEg_0Y7Eyg/s1600/Screen+Shot+2014-03-15+at+12.57.47+PM.png" height="300" width="400" /></a><span style="font-family: 'Trebuchet MS', sans-serif;"></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Altogether, these entries confirm the new understanding of
monumentality when it addresses complex historical phenomena, such as the Cold
War. We don’t have the need for a new Stonehenge<i> </i>(in the words of Clive Dilnot). Instead, more subtle, transitory,
almost immaterial gestures should convey the message to increasingly critical
and skeptical public.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><i>This project is one of the winners of the public competition for Cold War Monument. A presentation </i>On
Monumentality <i>will take place on March 18, 7pm at Storefront for Art and
Architecture, 97 Kenmare St, NYC<o:p></o:p></i></span></div>
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<!--EndFragment-->
<!--EndFragment-->cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com1tag:blogger.com,1999:blog-3855223901782590860.post-35084390313563205342014-02-03T14:18:00.000-05:002014-02-03T19:06:05.189-05:00Too Cute for Comfort<!--[if gte mso 9]><xml>
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<!--StartFragment-->
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkdC96xGqC10dxy-LJM60qqfj2Kw4_4kWuO3c6r0vQWk8PnUFTp-ICHIfYrYQdRoPhOefdfepwOKaANUzOTCSHl0eDRvSd_koNJGXBpUUUPe4jio7dC-NaukY2NhO7PXRiVnREZN6lDpo/s1600/10696_azz_desktructure_submarine_seletti_blu1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkdC96xGqC10dxy-LJM60qqfj2Kw4_4kWuO3c6r0vQWk8PnUFTp-ICHIfYrYQdRoPhOefdfepwOKaANUzOTCSHl0eDRvSd_koNJGXBpUUUPe4jio7dC-NaukY2NhO7PXRiVnREZN6lDpo/s1600/10696_azz_desktructure_submarine_seletti_blu1.jpg" height="332" width="400" /></a></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: x-large;">I</span> visit the New York Gift Fair under slushy freezing rain
that sweeps the plaza in front of the Javitz Center, but the unexpected warmth awaits
inside. This year, cuteness is in. It greets you straight from the cover of the
Fair catalogue: a bathroom set in the shape of a toy submarine (by Seletti). This
must be Zeitgeist: think of a hundred thousand possible images competing for
this choicest spot.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">The tone, set by the little submarine, is carried on by many
companies it their great many products –cheerful, gimmicky, colorful, and
toy-like. Multi-colored plastic with glossy finish appears to be a material of
choice.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Unless you consider these goods as a form of design
escapism, there seems to be very little in the current American economy, politics,
or culture to warrant this light–hearted attitude. In a way, this reminds me of Japan
and its famous culture of cuteness (<i>kawaii</i>).<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">While <i>kawaii</i> originated in Japan as a particular style of
handwriting in the 1970s, it reached widespread popularity a decade later with
products and brands like <i>Hello Kitty</i>. The burst of the Japanese bubble in the
1990s only solidified the power of <i>kawaii</i> over the country’s culture. Soon it
spread around the world. Numerous books are written about the phenomenon, but
still little is understood about its now multi-generational appeal.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">According to one Japanese online source:<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: #262626; mso-bidi-font-family: Arial;"><span style="font-family: Trebuchet MS, sans-serif;"><i>"Cute
can reach across gender and generation. Cute makes people feel needed,
makes them feel like they are taking care of something helpless."</i><o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #262626; mso-bidi-font-family: Arial;"><span style="font-family: Trebuchet MS, sans-serif;">And
closer to my topic:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="color: #262626; mso-bidi-font-family: Arial;"><span style="font-family: Trebuchet MS, sans-serif;"><i>"Americans
embrace cute because they embrace youth. They associate getting old with
its negative attributes such as becoming less attractive and perhaps becoming
less relevant. American cuteness, similar to Japanese cuteness, lets its
followers feel young again."</i><o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #262626; mso-bidi-font-family: Arial;"><span style="font-family: Trebuchet MS, sans-serif;">I
think I am going to check out the<i> Hello Kitty</i> aisle at our neighborhood
pharmacy.</span></span><o:p></o:p></div>
<!--EndFragment-->cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com0tag:blogger.com,1999:blog-3855223901782590860.post-59112080109229722632013-08-17T19:57:00.000-04:002013-08-17T19:57:06.490-04:00The Ultimate D.I.Y.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiV7Gh7vZb35B0hzSfqHUBtD4-ePGRAoYMLptB9nh1VIE6tD52IpaQsplmgnDt9TsHI9OhXW6JZFz1jI_ISxz1fiOJuwfOgWxy25MvmkfCJpQkKNKUhUvK2qG634VQnlR_FJKwsyrsY0o/s1600/amanescaped13.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiV7Gh7vZb35B0hzSfqHUBtD4-ePGRAoYMLptB9nh1VIE6tD52IpaQsplmgnDt9TsHI9OhXW6JZFz1jI_ISxz1fiOJuwfOgWxy25MvmkfCJpQkKNKUhUvK2qG634VQnlR_FJKwsyrsY0o/s400/amanescaped13.png" width="400" /></a></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;"><span style="font-size: x-large;">T</span>he 1956 film <i>A Man Escaped</i> by French director Robert
Bresson is beloved by great many film critics. The gripping tale of Lieutenant
Fontaine’s daring escape from a Nazi prison is shot with an incredible economy
of means, with unprofessional actors and a basic set, mostly limited to an interior
of prison cell.</span></div>
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<br /></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The very title of the movie dispenses with any plot suspense
– we know that the man does escape at the end. Rather, the story concentrates
on the process of <i>how he did it</i>. In minute detail, and with “zero degree”
detachment, the protagonist describes and demonstrates how he made ropes out of
blankets, hooks out of mattress springs, a chisel out of a spoon, and so on. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">As I watched the movie, I kept thinking how the subject of
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ultimate D.I.Y. exercise, not only all materials but also all work tools would
have to be conceived and recovered from a setting as limited as the inside of a
prison. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">In best traditions of Slow Design, time and efficiency is
not a factor here. It took Fontaine weeks just to loosen door boards, or to
produce proper tools for doing his work. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Trebuchet MS, sans-serif;">(Incidentally, Fontaine is not the only prisoner plotting to
escape. Another inmate tries it earlier; he is captured and condemned to death.
Before execution, he manages to pass on some important design advice – proper
length of ropes, the need for wall hooks, etc. Like in science, the man’s
failure enables the next one to succeed. We all stand on the shoulders of
giants.)<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Presently we have entered the age of new 3-D printing
technologies, which promise an instant creation of any given necessity,
“magically” produced by uploading computer files into a printer. The lesson of
Fontaine offers an opposite design alternative – slow working with immediate
resources, responding to material and technological shortages with creativity and
determination. It is important to continue teaching and practicing this
alternative. 3-D printers will not be available in jail.</span><o:p></o:p></div>
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<!--EndFragment-->cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com1tag:blogger.com,1999:blog-3855223901782590860.post-11051203730859927602013-08-08T10:56:00.002-04:002013-08-08T10:56:34.516-04:00Evil Fish
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2b3nFAKHxKLWSLXWDhPjmWqMHCFgfsypi8jiIRjh8m1UDevLhuoz1r8sGPoYZooVC4MPZP7nutW9nGDH8oOqEiPHH3bXcjN2LD7he4Tdcfr3fgQIPzhlgvl2xE0v6sgnef35wgc8KcS4/s1600/Evil+Fish.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2b3nFAKHxKLWSLXWDhPjmWqMHCFgfsypi8jiIRjh8m1UDevLhuoz1r8sGPoYZooVC4MPZP7nutW9nGDH8oOqEiPHH3bXcjN2LD7he4Tdcfr3fgQIPzhlgvl2xE0v6sgnef35wgc8KcS4/s400/Evil+Fish.jpg" width="400" /></a></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><i>by Laurene Leon Boym</i></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: x-large;">Y</span>ou can't miss the vernacular signage if you tried – a
primitive wood oval roughly cut in the shape of a fish. The crooked placard is
painted taxicab yellow to be visible from the Wittenberg Road in Bearsville,
New York, ten minutes from the center of Woodstock. Constantin and I had
visited the cottage behind the big fish sign the previous summer, having taken
the wrong turn on a back road to nearby Cooper Lake. Inside the front porch,
there was the cutest old lady selling sumptuous smoked trout and salmon, plus
jars of locally made honey from hives in her own backyard. Or, so she claimed.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">We were immediately hooked on the subtle and smoky
flavor of the fish. It was manna from heaven. Trout and salmon were harvested
onsite by her son, Mo Boy, after raising them in huge tanks in the greenhouse
out back, then the cute old lady was in charge of hot smoking the whole bodies
with the skin and bones intact. There was nothing tastier at any fish purveyor
in New York City. That summer, we returned several times to greedily get our
fix. As the old lady told us, that Wednesday was her smoking morning, and the
same fish was available for sale in the afternoon. Wednesdays for the rest of
Summer 2013 was spent impatiently waiting for a reservation at our very own
<i>Momofuku Ko</i> of artisanal fish smokers.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">This year, we looked forward to seeing the old lady and
buying the fish again from her. From our log cabin, it was a longer drive to
her house than I remembered, but the crooked sign was still out front. We
parked in the back. I noticed a half smoked joint in an ashtray on the
balustrade of the patio and wondered if the old lady was hitting the medical
marijuana while catching up on her daily tv soap operas?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Inside her front room, nothing had changed, except there
were huge bowls of leftover Halloween candy from the previous October. To
paraphrase a boilerplate Russian saying, snack sized Hershey's Dark and Mr.
Goodbars don't go bad. I made a beeline for the Mr. Goodbars in the glass
bowl, my favorite combo of peanut and chocolate (!) and ordered up 3 whole
trout with my mouth full of melting chocolate.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">After weighing the fish on an old fashioned scale, the
old lady offered up the brown-paper wrapped smoked trout. She theatrically
outstretched her hand, like we had never met. "My name is Grazina, or
Graziella in Italian. In Spanish, Gratiella. But Americans call me Grace. I'm
pleased to meet you.” She had forgot meeting us the previous summer and I had
no intention of correcting her. With her thin fingers shaking with arthritis,
the elderly woman's head swerved toward a faded framed cover of Sports
Illustrated on the wall over her right shoulder. A wry smile illuminated her
sun-damaged lips. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Continuing, she gestured toward the familiar face with
her wobbly index finger, " Do you know about my Nephew, Vitas Gerulaitis?"
As a child of the seventies, I did indeed remember the sun-kissed playboy
tennis player, the quarrelsome tabloid fixture playing the mirror image to
Bjork Borg's asphalt Viking god. Tennis in the 1970's was hot, but I remained
underwhelmed. I vaguely remembered meeting Gerulaitis in the early 1980's, as
an over made-up fourteen year old art student at a party hosted at Studio 54.
He was, bland, unremarkable. The tennis star appeared to be wasted on some
substance. He was giggling and wiping his nose on the sleeve of a bespoke
Brioni shirt. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Everybody was in the club for either drugs or sex, or
both. The former tennis star and I were introduced by a Scandinavian airline
pilot acquaintance who lost his left arm as a teenage daredevil in an air show.
The pilot had a mild crush on me. I'm sure because it was my habit at the time,
I tried to be charming and make polite conversation with the tennis star about
a game I knew nothing about, had no interest in. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">The elderly woman's voice broke into my memories,
"When my nephew died, it killed my sister. She never recovered. We had to
put her in a Lithuanian resort for the mentally fragile, thinking she'd be
there only for a few weeks, but she died there eventually. She died with my
nephew." Then and there I kept my mouth shut about almost having been
pimped out to her nephew as an under-aged Lolita in an upper middle class coke
den.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">She swerved her tiny body around to face another photo
on her gallery wall of a sepia-tinged 1940's looking brunette with sweet Eastern
European fat padding her jaw. Unlike Grace, the woman in the picture is not
smiling. "This is me, after the Second World War. I had this photo taken
at a camp. It was not a concentration camp, it was a good camp. I made my own
clothes for the picture" She paused and smiled. "We were special
people. My father was very handsome and smart, he was the Chief of Police in
Lithuania during the war.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Was I hearing this correctly? She rattled on, and her
lips moved, but I didn't hear anything. I was fucking disturbed. Was she
bragging about her father being a Nazi collaborator? The dates matched up.
Constantin paid for the fish and we left in a daze. For good measure, on our
way out I grabbed the half smoked joint on the back porch and stuffed it in the
pocket of my Levi cutoffs. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">What was I supposed to do anyway - call the Simon
Wiesenthal Center when I got back to my cabin? I actually did the next best
thing, Googled the old lady’s nephew. Within 4 links and 15 minutes I had a
Jewish Daily article from May 29<sup>th</sup> 1980. The head of Lithuanian
police, now deceased, the man called “one of the five most important Nazi war
criminals in the United States” was evidently living his life happily amongst
the liberal hippie residents of Bearsville, NY. Camouflage was easy, all he
needed to fit in was a peace sign bumper sticker on his pickup and a small herb
garden.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;">Turns out, I was going to need the entire smoke.</span><span style="color: #757575; font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<!--EndFragment-->cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com2tag:blogger.com,1999:blog-3855223901782590860.post-35416362303683197762013-05-15T12:18:00.001-04:002013-05-15T12:18:33.095-04:00The Artist<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMm8JmI1cKPL0nuN9HTjy5hCk5I2jBh1tZAy5RHJt6SA5RnfYaE1YR_RUjxaLnoCgMgx5ygp88hLiF4lZ6jZplsd-fTJNhfgMM6uUZaUg8Slog54JRgC4HLGHMtVeEAfCh1Vgp3zIc-qw/s1600/2011_the_artist_001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMm8JmI1cKPL0nuN9HTjy5hCk5I2jBh1tZAy5RHJt6SA5RnfYaE1YR_RUjxaLnoCgMgx5ygp88hLiF4lZ6jZplsd-fTJNhfgMM6uUZaUg8Slog54JRgC4HLGHMtVeEAfCh1Vgp3zIc-qw/s400/2011_the_artist_001.jpg" width="400" /></a></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;"><span style="font-size: x-large;">I</span>n the Oscar-winning film </span><i style="font-family: 'Trebuchet MS', sans-serif;">The Artist</i><span style="font-family: 'Trebuchet MS', sans-serif;">, the main character, a silent movie star George Valentin,
is caught in a particular predicament. His entire industry is changing from
silent to sound pictures, and he is not ready nor willing to catch up.</span><span style="font-family: 'Trebuchet MS', sans-serif;"> </span><span style="font-family: 'Trebuchet MS', sans-serif;">The story follows his gradual fall from
stardom, loss of all riches, and the end of his relevance as an artist.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">On the eve of my 58<sup>th</sup> birthday, I sometimes catch
myself identifying with George Valentin. Our industry is changing too. From making
objects design has moved into proposing scenarios, experiences, and social modes
of communication. From individual project the focus shifts to communal effort,
from proprietary ideas – to open sourcing, from industrial manufacturing – to
self-production. There is no clear direction: the key notions, according to
Paola Antonelli, are “ambiguity”, “vulnerability”, “open-endedness”.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">There are now new players in the field. For example, I look
at a list of jurors at a prestigious design competition. If only a few years
ago such list would be composed of design directors of manufacturing corporations
and principals of independent design consultancies (like myself), today the
picture is different. <i>These</i> jurors come
from Twitter, Airbnb, Pinterest, YouTube, Facebook, and they have titles like ‘director of global concepts’ or ‘senior
director of experience design innovation’. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">These people
represent the forefront of design today. Schools of design are busy updating
and reorganizing their curricula to be sure the young graduates are competitive
and familiar with the changing field. But what about us, seasoned design
professionals? There are, of course, plenty of furniture and product companies
who are still drudging ahead as if nothing new has happened under the sun. Should
we continue working for those, oblivious to the spirit of change? Or should we
try to reinvent ourselves, adapt to the times, jump on the bandwagon, so to
speak?<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Incidentally, <i>The Artist</i> has a happy ending. Our hero discovered
tap-dancing as a new language for making a different kind of movies. The lesson
is to look for personal and unpredictable ways. A successful design career will
continue neither as perseverance, nor as compromise, but in finding a new
relevance for the changing times.</span><o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3gSnSxuV1eHEOXYM8voNnjt7Dxhe3d66T4DcZooXMtVz2IHM8-seY1jfWND4-PuwLUFjwRdMjURhqNaFwnAOzM1dj4MSlzV8epFenNqusqecLZW0dICUoDzzpGp7Z6Z7ErhfRcrR1bu0/s1600/6961372231_5449bef88a_z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3gSnSxuV1eHEOXYM8voNnjt7Dxhe3d66T4DcZooXMtVz2IHM8-seY1jfWND4-PuwLUFjwRdMjURhqNaFwnAOzM1dj4MSlzV8epFenNqusqecLZW0dICUoDzzpGp7Z6Z7ErhfRcrR1bu0/s320/6961372231_5449bef88a_z.jpg" width="276" /></a></div>
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<o:p><span style="font-family: Trebuchet MS, sans-serif;"> </span></o:p><span style="font-family: 'Trebuchet MS', sans-serif;"><span style="font-size: x-large;">A</span>t the New York International Gift Fair, the spirit is far
from celebratory. The last few years have seen slow economy, less spending, and
a certain feeling of creative standstill in an entirely saturated market.</span></div>
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<br /></div>
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<span style="font-family: Trebuchet MS, sans-serif;">When new concepts and new forms are unattainable, people go
out of their way trying to offer solutions to invented problems. One company’s
product, Vino 2Go, is a wine glass with a sipping plastic lid, normally
associated with a paper coffee cup.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">– Why would I need a sipping lid on my wine glass?<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">– It protects your wine, so that a fruit fly can’t get in.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">– A what?<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">– You know, when you go out on the porch in summer, fruit
flies always attack your wine. No need to worry about them with our product.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Trebuchet MS, sans-serif;">An invention from a different company is called CapaBunga, a
special silicone cap to close an unfinished wine bottle.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">– Why not simply reuse the cork? Isn’t this what people do all the time?<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">– Yes, but with our product, we can put your logo or a funny
slogan on the cap.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Phenomenal success of iPhone and iPad has generated a
mini-avalanche of pseudo-functional byproducts:
on offer are numerous stands, supports, cord-wraps, cases and half-cases.
Another new product category plays with people’s recent environmental
anxieties, promoting an array of air purifiers, fresheners, infusers, often with
mysterious properties and questionable methods of working.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">One thing all these objects have in common is their reliance
on an invented, or pseudo- function as a way of assuring products’ legitimacy
and desirability. I am reminded of
<i>chindogu</i>, a Japanese concept of absurdist gadgets, which appear to solve a
particular problem yet on closer inspection prove to be completely useless. There
is no crime in promoting products like this, even though <i>chindogu</i> is not
supposed to be marketed. Yet wouldn’t it
be better to forgo the conventional notion of function altogether, thus opening
the field to wide new possibilities?<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">In Boym Studio’s work of the last decade I advocated objects
for collecting, for memories, for emotional fulfillment. When customers asked
me, occasionally, what did Buildings of Disaster or Babel Blocks <i>do</i>, I was
proud to answer: “Nothing”. In those
objects, function was understood in different terms; they were created as
containers for desire and memory, giving people a possibility to use them in their own, infinitely personal ways.<o:p></o:p></span></div>
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<!--EndFragment--><br />
<!--EndFragment--><!--EndFragment-->cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com0tag:blogger.com,1999:blog-3855223901782590860.post-63452682761527434082012-11-04T05:35:00.002-05:002012-11-04T05:42:31.112-05:00A Thousand Years Ago<!--StartFragment-->
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmnfr_NGxbgi93M56nSG6f0wVbSWBS3Kdi5qf2KFZPsZcyaIhsLBInGaR8Xu1l2GoOHFAzLkB11zyEUzTAgku_QXtJL4rhCyhVSAaykR2QzUiWGx8ZwbNNtH7icks8dbOHGwjhagK3AVE/s1600/Bagan+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmnfr_NGxbgi93M56nSG6f0wVbSWBS3Kdi5qf2KFZPsZcyaIhsLBInGaR8Xu1l2GoOHFAzLkB11zyEUzTAgku_QXtJL4rhCyhVSAaykR2QzUiWGx8ZwbNNtH7icks8dbOHGwjhagK3AVE/s400/Bagan+web.jpg" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: x-large;">T</span>he country of Myanmar (Burma) has just recently opened up
for unimpeded tourist travel, and I jumped up at the opportunity to see this
little-visited place. </span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">What I saw was an impoverished and polluted capital city, a
lush but not spectacular landscape, vital street life so common in that part of
the world – in other words, a not entirely unexpected picture.</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Except for one thing.</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Back in 10th century, in the middle of what now is Burma,
there was a small but strong kingdom of Bagan. The story goes that a Buddhist
monk had arrived to the court of Bagan’s king Anawrahta, and in a short period
of time managed not only to convert the king to Buddhism, but to turn him into
a true religious zealot. The king started construction of many temples, with
more and more added by his successors. In the course of two and a half
centuries, over 4000 temples were built on the planes of Bagan. Most of them are still there. From high
terraces, one can experience a breathtaking sunset view, the land alive with
countless spires as far as the eye can see. </span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">There is a great mystery in this solitary architectural breakthrough.
Why did it happen there, and nowhere else? The scale, clarity, and pure beauty
of the entire concept are simply unprecedented. The Burmese military government
was fast to recognize the significance of Bagan temples, and they engaged in
various measures of protection – from restoration of earthquake-damaged
structures to forceful resettlement of local residents, whose shacks tended to
“spoil the picture”. </span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">On my way back, riding in an old taxi through beat-up
streets of sprawling Yangon, I was thinking about the sad reality of a country,
whose greatest achievement came and went a thousand years ago.</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span></div>
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cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com2tag:blogger.com,1999:blog-3855223901782590860.post-68816668617009636512012-08-29T06:58:00.004-04:002012-08-29T08:28:50.220-04:00Return of Curiosity<!--StartFragment-->
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOfHJMpBC2pqiiEUPWSxKhP0IdEzW5Nkta1Vm61vM6ML1O-0E6_8BnSEq_Vn3CFOo6O0qTynmOluFrsMIMnQq0jP_1UT8ILsCH_gHGtJ5jH4HE9ENQGPhyphenhyphenTw_kKTPEJarEJYDejgQKY-0/s1600/curious+george.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOfHJMpBC2pqiiEUPWSxKhP0IdEzW5Nkta1Vm61vM6ML1O-0E6_8BnSEq_Vn3CFOo6O0qTynmOluFrsMIMnQq0jP_1UT8ILsCH_gHGtJ5jH4HE9ENQGPhyphenhyphenTw_kKTPEJarEJYDejgQKY-0/s320/curious+george.jpg" width="317" /></a></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: x-large;">C</span>uriosity as a concept has a long history. In 17</span><sup><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">th</span></sup><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">-18</span><sup><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">th</span></sup><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"> century, the <i>Kunstkammer</i> (the Cabinets of Wonders) proliferated
in Europe. One of the categories of artifacts on display was called <i>curiosa</i>:
objects, materials, and natural specimens from faraway lands. Those exotic items were kept to arouse
curiosity – a notion that since the age of geographic discoveries was
synonymous with quest for knowledge.</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">In the orthodox Modernist thinking curiosity was not a key
concept, and it fell out of fashion. Gradually, it got relegated into the realm
of low-brow idle preoccupations, akin to gawking and rubbernecking. By the 1990s, designers were more concerned
with questions of style and taste. </span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">When our book <i>Curuous Boym</i> was published in 2002, in a short
introduction, I wrote about the monkey Curious George as a role model for our profession:</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><i><br /></i></span>
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><i>He is driven by curiosity to play and experiment with
elements of his daily environment. He finds new uses for familiar objects,
invents different ways of doing things, tests the limits of materials and
objects. Many of his experiments don’t work, and he routinely gets in trouble,
but occasionally he reaps praise or a medal. </i></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><i>This sounds a lot like designer’s life.</i></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">In the second decade of the new century, this is no longer a
revelation. “There are myriad forms of design, many of which don’t
require movement of materials and artifacts; only curiosity, an internet
connection, and the ability to seek, learn, and synthesize from other fields
and cultures. These mutants are the future of design,” writes Paola Antonelli. The notion
of curiosity has made a spectacular comeback. I do not know who named the NASA Rover on Mars, yet it is
very fitting that this incredible machine carries the name of one of the most
endearing human characteristics.</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">In the last week of August 2012, “curiosity” had a
distinction of being the most searched word on Google. Curious George would
have been proud.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip9BOuCRguxhFlBH-qxsWrwEu8DJG0nfz-stZjvobmynvsxl3VNdSm4PXimteBXKMK1IIpSAepD-qrKhhNiteeGjUBUBUZ5exxeLeoX5UrTo6VUpyP5fVv1vzfAhv9JKJHMgDAQiWdfTY/s1600/Mars-Curiosity.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip9BOuCRguxhFlBH-qxsWrwEu8DJG0nfz-stZjvobmynvsxl3VNdSm4PXimteBXKMK1IIpSAepD-qrKhhNiteeGjUBUBUZ5exxeLeoX5UrTo6VUpyP5fVv1vzfAhv9JKJHMgDAQiWdfTY/s400/Mars-Curiosity.jpg" width="400" /></a></div>
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cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com0tag:blogger.com,1999:blog-3855223901782590860.post-35704086506104076222012-08-25T13:55:00.001-04:002012-08-25T14:12:14.742-04:00For Body and Soul<!--StartFragment-->
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmZ7kvoWbxoARw4x1u6IS5O-gL_5LzZegmLNtnPxQkQDrFX4-wjdnuA0FPAyqCNmxL_vGp-DZlHZX1joFoq010Ep7xfphk1lO3j2DhcD6Ql4B7BVIAkmnqqSTzefUNA6Xcq0AOnlU9ar0/s1600/cemberlitashamami11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmZ7kvoWbxoARw4x1u6IS5O-gL_5LzZegmLNtnPxQkQDrFX4-wjdnuA0FPAyqCNmxL_vGp-DZlHZX1joFoq010Ep7xfphk1lO3j2DhcD6Ql4B7BVIAkmnqqSTzefUNA6Xcq0AOnlU9ar0/s400/cemberlitashamami11.jpg" width="400" /></a></div>
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<span class="Apple-style-span" style="font-size: x-large;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span></span>
<span class="Apple-style-span" style="font-size: x-large;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">M</span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">imar Sinan, the great architect of the Ottoman Empire,
lived a long life. By the time of his death in 1588, at the age of 98, he has
completed an impressive list of over three hundred buildings. Among them, there
are 48 buildings of </span><i><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">hamam</span></i><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"> – Turkish communal bathhouses. Initially, I was
surprised that the architect of the grandest mosques of his day would be
involved in something so small and unprepossessing as a public bathhouse. A visit to one of his still functioning
hamams in Istanbul (</span><span style="font-size: 13pt;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: small;">Çemberlitaş Hamami)</span></span></span><span style="font-size: 13pt;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"> </span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">is an experience to understand
both the impact of this great master’s work, and the essence of Turkish bath.</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><i>Hamam</i> is like a mosque in miniature. One enters into a round
space, crowned by a cupola. Through the steam, light shines from above, from a
pattern of small round openings. Everything is in white, well-aged marble. In
the middle, there is a large round marble podium where bathers are invited to
lie and soak before washing. (Men’s and women’s sections are, obviously, separated, but the bath building is completely symmetrical, and the female half
is identical to the male one. At
least in the bathing ritual Muslim men and women always had equal rights.)</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The experience of lying on the warm marble table under the
piercing light is almost spiritual. The idea of cleansing assumes a symbolic
meaning, as if all your unclear confusing thoughts could just melt away. Later comes a physical wash, in shape
of a robust bath attendant who soaps and massages you, then leaves you on the
marble slab to continue your meditation. Steam bath of Christian tradition – small crowded space of
the sauna or the Russian steam room – never approaches this sense of openness and
harmony.</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">I wish there was a bathhouse by Le Corbusier or Frank Lloyd
Wright somewhere for comparison, yet I doubt they’d rival the old baths of Sinan.</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfXoWvzAYUKbJadhQe4PIz2KpzGpsHokzQQXJmMIt9bTKDGP34broTwNcEueSW_0tsUOiWy0ejEihaBJ4abeDIrozR2UENXX7BgHL0gW0sC8W64OqsH2O-FvOuEdPjr1AZDwfddBhB6bU/s1600/PHO-10Apr28-220430.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfXoWvzAYUKbJadhQe4PIz2KpzGpsHokzQQXJmMIt9bTKDGP34broTwNcEueSW_0tsUOiWy0ejEihaBJ4abeDIrozR2UENXX7BgHL0gW0sC8W64OqsH2O-FvOuEdPjr1AZDwfddBhB6bU/s400/PHO-10Apr28-220430.jpg" width="400" /></a></div>
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cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com1tag:blogger.com,1999:blog-3855223901782590860.post-58592892871140091952012-06-11T09:18:00.001-04:002012-06-17T05:20:41.597-04:00The Dark Side<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiHhWoCUDFBk_AC6SS1Zj7aUAg12bP-YSkUXLVBM-RM1nlidl9-gQiBhD9bWE_7a1lYLBZvfIMaOsTr-E_MR2VyTPLL9IUiWHXeWdCkzYl5z1FMxNYwQYqpMFIE0sUdyiKZciTdzbuc7g/s1600/object.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiHhWoCUDFBk_AC6SS1Zj7aUAg12bP-YSkUXLVBM-RM1nlidl9-gQiBhD9bWE_7a1lYLBZvfIMaOsTr-E_MR2VyTPLL9IUiWHXeWdCkzYl5z1FMxNYwQYqpMFIE0sUdyiKZciTdzbuc7g/s400/object.jpg" width="400" /></a></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: x-large;">I</span><span class="Apple-style-span" style="font-size: small;">n the Northern Italian town of Bassano di Grappa, there is
a beautiful bridge of Palladio’s design, Ponte degli Alpini. On one side, an
old vertical house contains a nice-looking tavern, which I chose for a
late-afternoon drink. I was surprised to find out that the tavern had a small
museum on two levels below the drinking floor, entrance free of charge. A bit hesitantly,
I descended several flights of narrow steps into the </span><i><span class="Apple-style-span" style="font-size: small;">Museo degli Alpini</span></i><span class="Apple-style-span" style="font-size: small;"> – and
into another world.</span></span></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The <i>Alpini</i>, or the Alpine brigades, were the elite
regiments of the Italian Army, specially trained to fight in the mountain
terrain. They were formed in
1870s, at the outset of the Italy’s unification to protect the country’s
northern mountainous borders. But the first big warfare for the Alpine brigades
came with the beginning of World War I. The action became known as the “War of Snow and Ice”, with
most of the front lines running through the highest peaks and glaciers of the
Alps. It was estimated that 12,000 Alpines, one out of every three enlisted, had
died in the course of this campaign.</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The lowest floor of the museum was, in fact, devoted to the
years of WWI. One would need W.G.Sebald to describe the impact of objects on
display, things that often defied description. I’ll cite only a few examples, from memory:</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">-Gas masks (chemical warfare was a
common tactic), including g</span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">as masks for horses, mules, and also for dogs; </span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">-Small cages for canaries, which would signal
presence of the gas;</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"></span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: small;">-</span></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Devilish devices for installing barbed wire in
field, which looked like huge corkscrews (since one could not hammer the posts
in without attracting enemy’s attention);</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"></span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: small;">-</span></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The opposite set of devices for cutting barbed
wire of the enemy;</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"></span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: small;">-</span></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Outfits for fighting in extreme cold and snow, such
as enormous overboots with six-inch wooden soles, or a</span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">nti-ice glasses with opaque metal lenses, with
only tiniest holes provided for vision;</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"></span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: small;">-</span></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Horrendous spikes and hooks that attached to
boots, for non-slipping on the glaciers;</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"></span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: small;">-</span></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Horseshoes with similar spikes;</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"></span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: small;">-</span></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Medical equipment of all kinds, such as metal
wire stabilizers for legs, arms, and head, and also a wire face mask, which
could hold a cotton swab soaked in analgesics;</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"></span><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: small;">-</span></span></span><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">And so on.</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">It is hard to imagine that someone conceived and made these
kinds of objects for people to use. The very notion of morality gets suspended. How
many lives have been saved by these terrifying gismos? How many people were killed because of them? In narrow sense, many objects demonstrate technical and
functional elegance, yet the very fact of their superior functionality calls
for a larger question: why would people want to do this to each other?</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">It is no wonder that these kinds of objects, their power
notwithstanding, are never included in any design anthology, never shown in a
design exhibition. Architecture
and design are too often presented as a life-affirming, optimistic enterprise.
We try not to think about the dark side. Until we stop to admire a
Palladio’s bridge, and stumble into memories of the War of Snow and Ice.</span><br />
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></div>cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com1tag:blogger.com,1999:blog-3855223901782590860.post-87848588367852185322012-04-23T02:26:00.001-04:002012-04-23T02:29:21.012-04:00Extra National Journey<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivQPuUYfGGhUZVOJ9eYJd9M_GS3M_NbaNRBofz8jkMrAf7LTJP_CTmA40DJ9jRko01T83QvA8zlY3EeQLXaLH7YEO0rWyOB5-ItEQDvgDTohAL5IDkiykgjXzpOksgjYTAeCXf6YlFZLA/s1600/12.The+Cloud+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivQPuUYfGGhUZVOJ9eYJd9M_GS3M_NbaNRBofz8jkMrAf7LTJP_CTmA40DJ9jRko01T83QvA8zlY3EeQLXaLH7YEO0rWyOB5-ItEQDvgDTohAL5IDkiykgjXzpOksgjYTAeCXf6YlFZLA/s400/12.The+Cloud+2.jpg" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: x-large;">W</span>hat happens when a Russian-born American professor takes a
group of his Arab students to a workshop in Amsterdam to work with a designer
who has a Canadian passport but lives in Berlin?</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">National identities clash with globalization: this is a
reality of today’s world, and reverberations of this conflict are evident in
contemporary design discourse. On one hand, the national is still much valued
as a precious cultural resource. On this topic, in a recent issue of </span><i><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Domus</span></i><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">, MoMA Design Curator Paola
Antonelli recently wrote about “digging deep into
local culture in order to achieve the universal sublime”. Notes Antonelli: “Local
traditions have in recent decades proved to be the most meaningful way to move
beyond modernism without giving up the great qualities of modern design”. </span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">On the other hand, there’s no denying that our global village is getting
more standardized. Developments with the internet have both facilitated and
enabled a globally homogeneous way of banking, manufacturing, commerce,
branding and pop-culture. The world of young people, in particular, is a
unified one in which music, fashion, games and social media have become a
global infrastructure that stretches far beyond national borders. These people
live in the era of Google Earth, which allows them to zoom in on any country or
city without leaving their computers.
One of the missions of design education today is to address this complex
condition, and to uncover strategies for its creative exploitation.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Nicolas Bouriaud’s </span><i><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The Radicant</span></i><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">
(Lucas and Stenberg, New York, 2009), lays out a promising theoretical
framework for artists’ and designers’ work in the first decades of the new
century. The notion of radicant comes from botany: it is “a term designating an
organism that grows its roots and adds new ones as it advances”. According to
Bouriaud: “To be radicant means setting one’s roots in motion, staging them in
heterogeneous contexts and formats … translating ideas, transcoding images,
transplanting behaviors, exchanging rather than imposing.” Instead of
postmodern games with history and heritage typically expressed through use of
signs and décor, this new work is characterized by formlessness and
temporality: it favors process over object, the journey over the destination.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The ideas in this prescient book have been recently put into action in a
joint workshop set up between VCUQatar in Doha and the Sandberg Institute in
Amsterdam, and based on the notion of Extra National Style, a theme proposed by
Jerszy Seymour (Director of the Dirty Art Department at Sandberg). The idea of Extra National defies easy
definition: it is not a fusion of cultures (such as might be favored by
Postmodernism) nor does it require abandoning all cultural references in favor
of a single unified language, as was the case with International style — a
solution still in evidence in many airports and public spaces still today.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">If anything, the notion of Extra National recalls a much older concept,
that of cosmopolitanism: the belief that all humans belong to one single global
community based on a shared morality. When the ancient Greek philosopher
Diogenes was asked where he was from, he famously replied that he was a citizen
of the world, or a cosmopolite. In contemporary thinking, cosmopolitanism
questions the inevitability of nation-states and advocates the world political
system that promotes personal freedom and individual opportunity. An essential
feature of cosmopolitanism is respect for otherness, which implies an acknowledgement
of religious and cultural differences. “I hate border controls, but I
love different food and cheeses,” says Jerszy Seymour. </span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Working in Extra National style does not mean leaving behind
the idea of national belonging, but rather making a selective inventory of what
is worth keeping and asking why. As
students tried to grasp and define the idea, words like “fluid”, “intangible” and “unreachable”
dominated the discussion, until the group started to focus on the moment — the
here-and-now. Indeed, the essence of this project could well be defined by its
unique and multinational list of participants, assembled somewhat miraculously
together in one space. The large empty studio, sheathed entirely in seamless blue
plastic that was itself devoid of any specific cultural references, had become
the stage of Extra National action.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">In this new environment, students’ national backgrounds appeared to have
been suspended. Two Israeli students worked and made friends with kids from
Lebanon and Qatar — something that just could never happen in the course of
their regular lives. Qatari girls temporarily shed their black </span><i><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">abayas</span></i><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">; Dutch girls joined in chanting
traditional Arab songs. Students were invited to transform the blue space as
needed in the process of their daily work. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Initial ideas focused on students’ basic needs as human beings:
establishing a ritual of one minute of breathing, or sending containers of air
from country to country in exchange. From the study of air the attention turned
to music — a truly Extra National phenomenon, especially for young people. A
group of students proposed an interactive musical map of the world, an
invisible auditory presence open for browsing and adding one’s own voice.
Another team worked on the needs of their working space, offering a collection
of Intangible Furniture: they were multifunctional toy-like fragments, capable
of personalized configurations. The entire class happily joined in exploration
of the system’s combinatory possibilities. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Intrigued by the observations of the Slovenian philosopher Slavoj Zizek
(who famously analyzed the difference between German, American, and French
toilet bowls as the key to the three nations’ ideological differences) the next
group examined a quintessentially human need, setting out to create a prototype
of an Extra National toilet. The project ended up as an outhouse and was
constructed outside of the school building. Its pentagon shape corresponded to
five dissimilar ways of use from five different continents, all unified with
one common drain hole.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">In the Extra National world, all ideas will belong to everyone as
material for translation and re-interpretation. This was the premise of </span><i><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The Cloud</span></i><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">, a performance project by
three students, which marked the end of the workshop. On the last day they
collected materials from all the other group presentations. The participants’
objects, fragments and leftovers were piled high in the middle of the studio,
together with all unused materials.
Reciting a manifesto, performers gradually tore the blue plastic film
off all walls, wrapping the debris and creating a monumental ephemeral
sculpture. This literal “wrapping
up” of the workshop was suggestive of endless transformative possibilities: all
the pieces and ideas remained inside, ready for further discussion and
regeneration.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">The following day, the students headed to the airport and returned to
their home countries. The world order has been restored. So what did everyone
learn from this experience?<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">One could question whether or not those interactions in the blue space
could even be considered design at all.
After all, there were no viable products or constructive proposals put
forth, as might have been required by a conventional practice of a design
workshop. The action at Sandberg Institute suggests that conventional wisdom
does not apply to the design professions any longer. The field has opened up
for all kinds of existential queries that question the way people live, work,
or communicate. By definition,
these questions cannot lead to a singular answer. Rather,
the argument is brought up again and again, by every new generation. This open-ended
quest for meaning is likely to dominate our professional efforts for decades
to come, with young designers of all nations taking part. Students of the
world, unite!<o:p></o:p></span></div>
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<br /></div>cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com0tag:blogger.com,1999:blog-3855223901782590860.post-63238116367779827402012-02-22T07:34:00.003-05:002012-02-22T07:40:05.556-05:00Learning from the King<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEvU7Ev6_j6eiVACZj4sVG79jG-GZUvfHo-ELCdWDINA8cCoIHfaWkDl8fR_RrF_-jZcbCdhve5FlNEvSS671a0lcHYaW4p_U-PUdc8E-tc6pqApP5uwmInH-Eca2agaz_Prjl677sKeU/s1600/Green+vault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEvU7Ev6_j6eiVACZj4sVG79jG-GZUvfHo-ELCdWDINA8cCoIHfaWkDl8fR_RrF_-jZcbCdhve5FlNEvSS671a0lcHYaW4p_U-PUdc8E-tc6pqApP5uwmInH-Eca2agaz_Prjl677sKeU/s400/Green+vault.jpg" width="283" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: x-large;">I</span>f there was one reason to travel to East German city of Dresden, it would be to see the unique collections of objects and art, amassed by the Elector (King) of Saxony, Augustus the Strong (1670-1733).</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Of all Dresden museums the most unusual is, definitely, the King’s treasure chamber, known here as the Green Vault (<i>Grüne Gewölbe</i>). The display, accessible to selected visitors already in the 18</span><sup><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: xx-small;">th</span></span></sup><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"> century, was conceived as an early example of <i>gesamtkunstwerk</i> – a total work of art – where the objects, the setting, and the passage through rooms were carefully planned to form a complete aesthetic experience.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">There is, of course, plenty of gold, silver, and ivory on display. Yet other materials that attracted my attention were unexpected: coconuts, ostrich eggs, Nautilus shells, Seychelles nuts, rhinoceros horns, even cherry pits. The interest in these exotic materials, stimulated by the age of geographic discoveries, was common among the European royal courts at the time. This was the period when the <i>kunstkammer</i> (the cabinets of wonders) proliferated in Europe, where the objects from faraway lands were stored and displayed. Those <i>“curiouse” </i>items were kept to arouse curiosity – a concept that in the 17</span><sup><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: xx-small;">th</span></span></sup><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">-18</span><sup><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: xx-small;">th</span></span></sup><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"> century was synonymous with quest for knowledge. Yet the Green Vault is not merely a <i>kunstkammer</i>. Every shell and coconut – those signifiers of the exotic, “the other”– were sent to court artisans to be re-worked, re-combined, re-interpreted into new decorative objects. As with most treasure art, the functional requirements were nil. It was all about the effect, the surprise, the complexity. Apparently, the king presented his artisans with an aesthetic carte blanche, where the only requirement was an impeccable quality of craftsmanship.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">To call these strange material collages eclectic would be both an understatement and simplification. Nicolas Bourriaud in his book <i>The Radicant</i> talks about creolization, “a process involving acclimatization and cross-breading of heterogeneous influences”, as a major determinant of contemporary art. This concept is perhaps applicable here. The meaning of king’s precious objects lies in joyous juxtaposition of cultures, in the sense of wonder about our wide and strange world, in the belief that beauty can unite and conquer all. Three hundred years later, these sentiments still resonate.</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br />
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</span></div>cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com0tag:blogger.com,1999:blog-3855223901782590860.post-79400425006927745892012-01-26T07:57:00.001-05:002012-01-26T08:05:55.909-05:00Authentic Moss<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihGADonPjNB50F_ustyDQCtndIGeMehlR7WzBvJJbL1m-bXk9AnlCZ3P6tFs2u3hlVdXM-HCA7B8tSmlE5oOWjKzfmXNlRZI98eZgiqOpLl1e8Ev9r_HHG8HrQ5aXTHL9PABj4CFFgZtM/s1600/Use+It+Containers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihGADonPjNB50F_ustyDQCtndIGeMehlR7WzBvJJbL1m-bXk9AnlCZ3P6tFs2u3hlVdXM-HCA7B8tSmlE5oOWjKzfmXNlRZI98eZgiqOpLl1e8Ev9r_HHG8HrQ5aXTHL9PABj4CFFgZtM/s400/Use+It+Containers.jpg" width="270" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: x-large;">I </span>was 9 months pregnant with my son Bobby, and considered myself a lucky designer. In 1997, the world was my oyster, professionally and personally. Four years out of graduate school and into a professional design career, our studio, Boym Partners, was rocking the supermarkets of Europe and the aisles of Target with plastic containers produced by a revolutionary German company called Authentics. All of a sudden, I found out from a friend that the go-to NYC design retailer, MOSS, was paying attention to our work.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">I finally met Murray and Franklin outside their store re-arranging the window display of our studio’s plastic containers one midnight coming out of a late movie at the Angelika Film Center across Houston Street. In a beautiful high/low moment, the former Metro Pictures Gallery window looked like a supermarket shelf (well, almost). The window display was bursting with $2.25 plastic containers. It was one of the first of many of MOSS’ gutsy signature moves, the highbrow retailer championing cheap mass-produced design objects. For the record, the set of 8 Moss-curated Boym containers in a plastic bag cost $20.00, plus tax. There is a big price gap from $20 containers to a $20,000 sofa. For Murray Moss, the design quality could lie in all things, and he was eager to prove it to incredulous New York public. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">MOSS, standard bearer extraordinaire, put their money where their mouth is. Despite what critics say, the MOSS perspective on design is not an elitist view. It’s only sincere and pure expression of a better life through design. And to guild the lily, they and their handpicked and trained staff lovingly organized many memorable exhibitions and parties. You can ask anyone in the design world who was there. I have been blessed to have been one of their designer/artist collaborators and friends for 16 years. I’d love to disclose many other memorable (design) controversies we survived together, but that history is still being written. There’s a bright future ahead for these boys starting the MOSS BUREAU.</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br />
</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Laurene Leon Boym </span><br />
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</span></div>cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com0tag:blogger.com,1999:blog-3855223901782590860.post-89596643314220410292012-01-09T01:15:00.002-05:002012-01-16T12:49:14.083-05:00The Gift<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5t9cMDjVGxh5f6iB6xu673eQjmHVWL-lyxsKIygoqKyFsN0V6svoosiXhEf0NZiDnRDzO5BvsCyx1PdT2uUsXwhGf50Kg7Ju8qmaHGDC4rmI2VmHKmY5ROgjTsnpjZNdVkOwo1gisZtY/s1600/The+gift.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5t9cMDjVGxh5f6iB6xu673eQjmHVWL-lyxsKIygoqKyFsN0V6svoosiXhEf0NZiDnRDzO5BvsCyx1PdT2uUsXwhGf50Kg7Ju8qmaHGDC4rmI2VmHKmY5ROgjTsnpjZNdVkOwo1gisZtY/s400/The+gift.jpg" width="400" /></a></div><div class="MsoNormal"><br />
<o:p><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"></span></o:p><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: x-large;">O</span>n my recent trip to the south of India, I managed to get hold of a bicycle and pedaled through villages outside of Pondicherry, to a great excitement of local population. Children and youngsters, especially, seemed to be taken by a sight of a tourist on a bike with a camera. “Picture, picture!”– this cheerful and insisting call I would hear again and again. At first, I thought the villagers wanted to get paid a little for posing for the shot. This presumption proved wrong. Far from expecting the tip, they were sincerely surprised at the offering of money. Even though normally I am hesitant to take pictures of people, here I ended up with a small portrait gallery.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">These encounters, so characteristic of India, are a curious phenomenon – like a souvenir in reverse. The Westerners always try <i>to take</i> something from a journey, to get a possession of something local for a good memory. Those Indian teens, on the contrary, wanted <i>to give away</i>, prompting me to capture their images to bring them home with me. I remember one group demanding to see their digital picture, and once they were certain I had it in my camera, they seemed greatly satisfied. They got their souvenir!</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Here is this image from the world’s most photogenic country, the gift from a fishermen’s village, the name of which I do not even know. I’d like to share it with everyone. </span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br />
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</span></div>cbhttp://www.blogger.com/profile/03342342242345926624noreply@blogger.com1tag:blogger.com,1999:blog-3855223901782590860.post-27629190281034414262011-11-10T05:14:00.002-05:002011-11-10T05:16:51.454-05:00The Expulsion from Eden<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCo93m6QQbwi69zTCBw0mjTjQ4n2Dnq-gXBPeuLVClsnBWbNsULqkdIV-oNrT9ilp1jEfi_LJDXJu4dwYs1cKTaa3b8QmVkMim1SZW9khcdDqc1Lbhm8-Ad5oE9a3cjHefoVdmOf66f6M/s1600/Eden.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCo93m6QQbwi69zTCBw0mjTjQ4n2Dnq-gXBPeuLVClsnBWbNsULqkdIV-oNrT9ilp1jEfi_LJDXJu4dwYs1cKTaa3b8QmVkMim1SZW9khcdDqc1Lbhm8-Ad5oE9a3cjHefoVdmOf66f6M/s400/Eden.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><span class="Apple-style-span" style="font-size: x-large;">S</span>o much has been written about the African safari, so many seductive images have been created, that it is impossible to put aside all expectations and preconceptions when one prepares to travel there. Yet once our small plane lands on a simple gravel airstrip, the actual experience is overwhelming, almost religious.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Imagine a green, gently undulating plain, stretching in all directions as far as eyes can see. On the plain, there are innumerable groups of animals, big and small, standing still or moving gracefully. The notion of Paradise comes to mind, once and again. There is violence there, but all hunting and eating of flesh happens in such dignified, purposeful way that there is nothing gruesome or troubling about it. The beauty of our old good planet Earth – an old clichéd sentiment, perhaps – suddenly acquires a new and very exact meaning.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">On the way back I made a mistake to stop in Nairobi, for a brief tour. This concrete metropolis, a 1970-s modernist nightmare, is a home to Kibera, one of the Africa’s largest slums. All ills of a 3-million-large city are in evidence: traffic, pollution, crime, and above all, an overwhelming ugliness. Stuck in endless traffic on the way to the airport, I imagined the site of Nairobi only one hundred years ago (the city is barely 100-years-old). This place probably looked much like the green plains of Africa that I have just visited. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">What are we doing to our Earth?</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br />
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