“Recently nominated for Interior Design Magazine’s Best of Year Awards (BoY) as an Eco Product are the Buzziskin 3D Tiles. Not unlike their parent company by the name of Buzzispace, this brand new 3D tile infuses vibrant colors into a self-adhering, upcycled PET-waste product that brightens up an office space.”—
"Architecture at the Edge of Everything Else" investigates the inner contradictions tangling and obscuring architectural discourse.
It locates architecture in a cultural, social, political, and situational landscape—the space it actually occupies in the contemporary world. Examining architecture as it comes into contact with other disciplines—including art, art history, cultural studies, curating, landscape architecture, neuroaesthetics, pedagogy, philosophy, political science, and urbanism—the book considers architecture’s precarious position at the edge: at the edge of its own dilemmas and at the edge of “everything else.”
As I was reading my Metropolis Magazine (January 2011)...
there was an article that I thought was quite interesting and also slightly disturbing.
The article was “Luminous Buildings, Sleepy Rooms- Convention centers, with their dreary lecture halls, would benefit from systems thinking” which describes the author’s experience attending the USGBC conference at McCormick Place in Chicago and how the new addition felt “cavernous” and cold with little natural light, over reliance on mechanical systems pumping cool air, questionable way finding, uncomfortable seating, and other issues. What caught my attention was a comment made that the only thing the interior designers could do to “help humanize the alienating, sleep-inducing rooms” within the conference center were “smart, but piecemeal fixes.”
I thought this was interesting and somewhat insightful, because I think that this scenario probably happens more than we think - interior designers can only do so much to compensate for and/or even disguise the built form they are given to work with. Part of what does makes interior design interesting is how you go about the “problem solving” aspect of working within many existing buildings to achieve a desired affect or experience. But how do we address those situations where the architecture itself doesn’t leave the interiors person or group much to work with? Even worse, what if these are newer buildings?
I am hoping that articles such as this one make designers and architects alike take a step back and look at the bigger picture and even imagine themselves as users in the spaces they design so as not to forget or forgo some of the basic fundamentals of good design.
The Intypes (Interior Archetypes) Research and Teaching Project, initiated in 1997 at Cornell University, creates a typology of contemporary interior design practices that are derived from reiterative historical designs that span time and style and cross cultural boundaries.
An Intype represents an ideal example of a historical and culturally determined practice of design.
“Design should do the same thing in everyday life that art does when encountered: amaze us, scare us or delight us, but certainly open us to new worlds within our daily existence.”—This quote by Aaron Betsky, director of the Cincinnati Art Museum, was quoted in the Gain: AIGA Journal of Design for the Network Economy article “Good Design in the Digital Age”
I found a very intriguing firm who does everything from buildings, products, exhibition and urban design primarily with modular container type structures and other recycled items. Here are a few of their projects:
Barely three years old, MASS Design Group is a new breed of firm that believes architecture can do a much better job at being good. Founded by six students at Harvard’s Graduate School of Design—Murphy, Marika Shioiri-Clark, Ryan Leidner, Alda Ly, Alan Ricks, and David Saladik—MASS works with aid groups, governments, and donors to make architecture a prime element in development, recovery, and health-care operations….
~Metropolis Magazine 1/17/2011
If anything this article helps provide a glimmer of hope for those of us getting ready to graduate and hoping to make a difference in the design world…
“When I started, the suggestion was that the architect would work for the public good … But architecture has been taken over by the private sector, we now serve private interests. There is this irony that as we have become more famous we are also taken less seriously.”—
“A few finishing touches won’t cut it these days. A new consumer poll from the National Association of the Remodeling Industry (NARI) revealed that 49 percent of homeowners consider outcome and design as the greatest determinant of project satisfaction.”—New Poll Looks at Homeowner Satisfaction and Remodeling
»>Free Winter Weekdays From January 3 through February 4, the museum is offering free admission, every weekday, all day long (late evenings included)!
December 11, 2010–July 20, 2011
Overview: The Internet has undoubtedly transformed the world we live in; its unprecedented access to and layering of information lead to greater interaction and engagement, and a complex understanding of our place in the world. However, this innovative method of accumulating and remixing data is also occurring across the fields of architecture and design. A fluid exchange between these disciplines—fueled by advances in production processes, materials research, social and environmental concerns, and influences drawn from scientific and biological research—is resulting in new attitudes to architecture and design that are opening up these subject areas and stretching their range of influence.
Rather than make buildings, the interest of Snarkitecture lies in working on designs within existing spaces or collaborating with other architects and artists on existing projects.
The firm’s work involves investigation of the structure and materials within a space and how they might be manipulated in order to serve new and imaginative purposes. Searching for sites within architecture with a possibility for confusion or misuse, Snarkitecture aims to reconfigure these existing elements to make architecture do things that it is not supposed to do.
Cities are hybrid entities based on multilayered and sometimes contradictory organizing principles. As complex networks of geographic, economic, political and cultural segments, they are caught up in a constant process of differentiation. How are we to understand such dynamic processes, especially the complex connections between individuals, whose movements and interactions leave traces in the urban landscape? This publication offers architects, urban planners and general readers interested in city design and growth a novel approach, a mapping tool that creates a framework for understanding the continually changing configuration of the city. With transparent slides, the tool allows one to superimpose various realities like layers and build new urban connections. It invites readers in short to immerse themselves in the complexity of our cities.
Andrew spoke about ways of transforming the urban realm into a public playground. To allow some form of self-expression, through small interventions in the urban surround, in areas of the city that people see everyday but normally exclude and ignore. Using Greyworlds own projects such as The Source (2004) their 32m kinetic sculpture which opens the London market every morning at the London Stock Exchange as well as their much lower tech railings project , he presented how Play can be an intergral part of the experience of our whole built environment.
As part of my ongoing projects and interest in public transit and its effect on urban life and development I thought I would share this organization that just launched… Also check out one of my other blogs with some of my CTA project work at http://ctart.tumblr.com ￼”The mission of the Chicago Rapid Transit Coalition is to argue and advocate for the expansion of subways, elevated lines and light rail throughout Chicagoland. While Chicago hasn’t seen a newly constructed rapid transit line since the opening of the CTA Orange Line nearly 20 years ago…”
Architecture and engineering have a history where research and practice go hand in hand, where many great practices have grown as a result of fundamental research and where many research projects arise from groundbreaking design.
Constructing Realities only shows the tip of the research iceberg these students have gone through turning dozens of drawings, experiments, physical and software prototypes into standalone pieces. Work presented includes a prototype responsive screen proposed as a speculative stage set, site specific responsive installations investigating themes of digital participatory storytelling, virtual environments exploring maze and labyrinths as apposing models for spatial navigation, and laser scanning drawings exploiting the potential for error, mistruth, mistake and subversion within their production.
“There is another side of this new transmedia: co-development, co-creation, co-ownership. In this new world, we all produce, we all share, we all enjoy. Teacher and student learn together achieving new understanding. Reader and writer create together. Game player and game developer work together. This is the age of creativity, where everyone can participate. Everyone can be a designer. Everyone can be involved.”
“The new design challenge is to create true participatory designs coupled with true multi-media immersion that reveal new insights and create true novel experiences. We all participate, we all experience. We all design, we all partake. But much of this is meaningless: how do we provide richness and depth, enhanced through the active engagement of all, whether they be the originators or the recipients of the experience?”
So this blog isn’t really design or architecture related. But it is written by my sister and quite often she has some pretty good things to say. Check out her New Years resolutions and hopefully I will get a chance to write up something equally insightful… :)
“Designers have limited ways of changing the world but we can start reversing this trend ourselves by focusing on Design Doing: A sensible balance between craft, thinking and creativity. With such sensibility we could possibly persuade our clients to start doing things with the same dedication to local craft, thinking and creativity. “The things we make, make us.”—