Tag Archives: design

Sociologist recommends designing libraries and community centers so people can use them in disasters

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Sociologist Eric Klinenberg says more libraries, community centers, and other public spaces should be rethought and redesigned so that they could help people in times of crisis:

“Think about this: you’re in the midst of an extraordinary crisis, it’s so profound that the systems in your city have shut down. You don’t have power, you might not have water, you don’t have communications. Is that the moment you want to go into some strange, random public institution you’ve never spent time in before — one that’s likely to be overwhelmed by people with real needs and problems, and that might not be capable of giving you what you need. Or is that the moment you want to go a place that you feel comfortable in and familiar with, a place where you know the faces and are likely to see your a lot of your neighbors. It’s kind of a no-brainer.”

“Every neighborhood in this country should have a designated emergency safe space, and it will work well if its also a place that people use in their lives everyday, or every week. And if we can do that right, we can do something amazing. Not just protecting ourselves from the next crisis, but improving the quality of our lives and our communities all the time.”

And then speaking about a new design competition, Rebuild by Design:

Yeah. This is such an exciting competition. We had 148 design teams from around the world apply to come up with innovative solutions to deal with the threats of climate change, and there are 10 teams that are finalists that are doing their projects now.

I took them to the Red Hook Initiative because it’s an example of a community institution adapting its mission and changing the way its space worked during the crisis to become a relief operation. And they wound up serving thousands and thousands of people in that neighborhood because the staff knew the place well. Residents of the community felt very comfortable and at home there and because the design of the building allowed them to change the space according to the acute needs of that situation.

Klinenberg goes on to say that building resilient communities is important. Designing public buildings and spaces so that they can meet multiple needs could help a neighborhood or community get back on its feet quicker after a disaster. It would then be worth hearing more about what these redesigns could look like. How much different would a “resilient library” look?

It strikes me that pursuing this could be quite difficult in the suburbs. Because of the density of the city, it could be easier to find public spaces suitable to this task every so often. But, when people are more spread out and some suburban communities offer little in the way of public spaces, this would be harder.

Bankrate.com asks “What is a McMansion?”

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Bankrate.com defines financial terms and recently look at the term McMansion:

The Bankrate.com financial term of the day is: “McMansion”

“McMansion” is a disparaging term used to describe homes that are oversized and opulent, but also without a whole lot of uniqueness. McMansions are loosely defined as houses between 5,000 and 10,000 square feet with soaring, grandiose entryways and multicar garages, often shoehorned onto relatively small lots.

McMansions are giant homes that have sprouted up in the suburbs the way fast-food restaurants have — hence the name.

Three features of this definition stand out: (1) marking the term as a disparaging one – it is rarely used positively and can be used effectively when criticizing others; (2) it highlights their mass-produced nature (not very unique, sprouted up); and (3) sets some square footage limits so that McMansions are larger than most American homes but don’t run into mansion territory. Several other parts of the definition, including common design features and small lots, may be common but are not part of all McMansions. However, the video is disappointing. I was hoping for some classic images of McMansions…

I also wonder if this is Bankrate’s definition of a McMansion as Americans see them or as a financial publisher? Here is a little bit about Bankrate.com:

We at Bankrate, Inc. have over three decades’ experience in financial publishing. Bankrate was born in 1976 as “Bank Rate Monitor,” a print publisher for the banking industry…

Today, Bankrate, Inc. is the Web’s leading aggregator of financial rate information, offering an unparalleled depth and breadth of rate data and financial content. Bankrate continually surveys approximately 4,800 financial institutions in all 50 states in order to provide clear, objective, and unbiased rates to consumers. Our flagship Web site, Bankrate.com, provides free rate information to consumers on more than 300 financial products, including mortgages, credit cards, new and used automobile loans, money market accounts, certificates of deposit, checking and ATM fees, home equity loans and online banking fees.

In addition to rate data, we publish original and objective personal finance stories to help consumers make informed financial decisions.

What exactly does Bankrate think about McMansions?

 

Focus groups examine home designs in a warehouse

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Pulte recently put together some new home designs in a Chicago area warehouses to see how consumers would respond:

Basically, it was the latest incarnation of the company’s ongoing experiment: walking focus groups of consumers through full-size prototypes of floor plans of homes that Pulte intends to build, and asking for reactions before the first shovelful of earth has been dug. The consumers’ input enables the builder to tout the homes as “Life Tested.”

So on this September day, in an 88,000-square-foot warehouse in suburban Franklin Park, nine Chicago-area homeowners were life-testing “houses” framed in lumber and covered with sheets of Tyvek house wrap to simulate walls.

Pulte brought in a team of carpenters to do the framing for 11 houses and the fixtures within, such as kitchen islands and bathroom sinks, which were covered in corrugated paper and marked — in case you weren’t sure what you were looking at — “island,” “sink,” etc…

Total silence ensued — they weren’t supposed to speak to one another, so as not to influence opinions — as they wandered from room to room. Then they moved “upstairs” (that is, next door) to do the same thing.

This sounds like a helpful approach to getting feedback about particular interior features, even if the features aren’t fully constructed. However, I wonder how valuable this feedback is without situating a home within a particular neighborhood. I assume Pulte would say the neighborhood is another important factor and that they build attractive neighborhoods that only enhance the individual homes.

It is also interesting to see that Pulte’s designs are then said to be “life tested.” Pulte has built enough homes over the decades to legitimately claim this for established featuresbut can they really say this for new designs?

Transforming a Bell Labs complex into a mixed-use development

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The famous Bell Labs complex in Holmdel, New Jersey is due for a makeover into a mixed-used development:

Developer Somerset Development has tapped Alexander Gorlin Architects to convert the 1.9 million-square-foot facility into a contained island of retail, dining, residential, hotel, performance, and office space—providing new amenities, from a town library to an outdoor sports complex, for the sprawling suburban community. Two New Jersey–based firms, NK Architects and Joshua Zinder Architecture + Design, will also collaborate on the design of the interior tenant space.

“It is almost like the Romans have left the arena. How do you re-inhabit the coliseum? How do you inject new life in a space that is waiting for something to happen?” said Gorlin. “It symbolized America at its post-war peek in 1962.”

The colossal, quarter-mile-long atrium will be the cornerstone of the renovation. Gorlin imagines that this vast, open space will serve a similar function to that of the Armory, and host a variety of events such as large and small-scale performances, a farmer’s market, and pop-up shops…

So far the development has one tenant, Community Healthcare Associates, which plans to take over 400,000 square feet of the building. The developer envisions the complex will house a variety of tenants that meet the needs of the rather affluent surrounding community. “Everything has to mesh and come together: the clientele, the target market. There is room for many different levels,” said Zucker.

A fascinating building where much technological progress took place will be converted into another sort of lifestyle center for wealthy suburban residents. On one hand, it is a good idea to use the building for something the community can utilize now rather than let it fall into disrepair. On the other hand, the building could be treated like any other big box facility. There is potential here to market the new offices and uses as part of technological history – but this may not fit the theme of farmers markets, pop-up shops, and boutiques.

As the article notes, this building may just symbolize America at its post-war peak: big business, modern architecture, technology, all in a bucolic suburban (median household income over $140k) office campus setting. Perhaps after its redesign it will symbolize America of the 2010s: consumption, entrepreneurship, mixed-income developments, still in a bucolic suburban setting.

Plans for the first skyscraper that can disappear

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Construction is expected to begin soon on a South Korean skyscraper that could hide itself:

[T]he world’s first disappearing skyscraper has just been approved for construction for the Incheon International Airport area outside Seoul, South Korea. No date is given as the projected completion yet, but according to Architizer, Tower Infinity, designed by GDS Architects, will rise 450 meters (1476.38 feet) in the air and feature “a cutting-edge LED façade system that allows visual information behind the skyscraper to be captured and simultaneously projected from the tower’s surface.” The building, in turn, will “blend into the background like an enormous, crystalline chameleon.”

Tower Infinity, which will be filled not with residences but with “entertainment and leisure purposes,” will have the third highest observation deck in the world, and its the exterior can also be used as a giant screen to project photos or movies. Despite its massive, thunderous stature—the architects believe that the primary function of the skyscraper, which they’ve nicknamed the “Anti-Landmark,” is to “celebrate the global community rather than focus on itself.” They write: “Instead of symbolizing prominence as another of the world’s tallest and best towers, our solution aims to provide the World’s first invisible tower, showcasing innovative Korean technology while encouraging a more Global narrative in the process.”

Whether Tower Infinity is “a magical piece of technological ingenuity, or a cynical new branch of architectural exhibitionism,” as Architizer puts it, one thing’s for sure: the $28B “Dream Hub,” a minicity of architectural experimentation composed of buildings by Daniel Libekind, Foster + Partners, Skidmore, Owings & Merrill, among others, as well as a rather controversial number by MVRDV, probably won’t happen in Seoul.

It will be interesting to see how this type of facade will be deployed. Imagine a regular show where the building lights up and then suddenly disappears. In a less urban area or if the backdrop is conducive, the building could disappear to be replaced by a scene of nature. Or, the LCD facade might be used as a giant advertising screen. Perhaps new regulations and codes have to be developed by urban municipalities to limit what the building might do.

But, I can’t help thinking the building has a future in action movies, perhaps the James Bond or Mission: Impossible series, as the centerpiece in some bizarre plot.

American colleges have Gothic architecture because they wanted to be linked to English universities, make clear their intellectual heritage

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American colleges adopted Gothic architecture to make statements about their connections to the past as well as to other well-known schools:

American universities had always treasured the influence of Oxford and Cambridge. The colleges that would become the Ivy League were meant to model the Oxbridgian ideal of constructing a college around a quadrangle. In practice, though, American colleges of the 18th century were quite different. They were more devoted to scholarship than their British brethren. They were disconnected from a university. And they were poorer: Often, they didn’t have enough money to complete a ring of buildings around their quad…

“What Gothic meant changed depending on the time,” Johanna Seasonwein, a fellow at Princeton University Art Museum, told me. When Victorians emulated Gothic, they did it sloppily, mixing styles and idioms. “Something Islamic, something Byzantine,” might get thrown in there, says Seasonwein. This was the Victorian Gothic of the 1860s and ‘70s: a mishmash.

Collegiate Gothic, which followed Victorian Gothic, was much more precise. It emulated Oxford and Cambridge more directly.

There’s even a patient zero, of sorts, of Collegiate Gothic. In 1894, Bryn Mawr commissioned a new building, Pembroke. Its interpretation of Gothic so inspired other schools that they commissioned similar plans from the architects which designed the hall. (That firm, Stewardson & Cope, wound up constructing a near-copy of Pembroke on Princeton’s campus, where it’s called Blair Hall.)…

Collegiate Gothic was not a naive emulation, though. The Gothic revival “was just as much saying who was accepted in this atmosphere [of the college] as who was not,” says Seasonwein. Universities were expanding, and welcoming new students, but they were still mostly populated by WASPy men. Before the 1890s, many college presidents would have resisted a filigreed medieval style for fear it would look too “papist.”

Woodrow Wilson, when president of Princeton, has a now-famous quote about the revival: “By the very simple device of building our new buildings in the Tudor Gothic style we seem to have added a thousand years to the history of Princeton,” he said. Normally, the quote is truncated there, but in fact it continues: “…by merely putting those lines in our buildings which point every man’s imagination to the historical traditions of learning in the English-speaking race.” (Emphasis mine.)

All together, this is a good reminder that an architectural style we associate with a particular set of activities didn’t necessarily have to be. Social forces pushed colleges to adopt a particular architecture and they assumed this design communicated key messages.

The examples of collegiate Gothic cited in this article tend to be from elite Northeast and Midwest institutions. So does this architecture today still function in a similar manner, clearly demarcating these campuses as a cut above the rest? Other kinds of colleges, perhaps marked by region or the year they were founded or the students they serve, might have intentionally adopted other architectural styles to communicate other messages. Let’s say we wanted to look at the architecture of community colleges. I suspect more of them are post-World War II institutions that more modernist and functional architecture. What exactly does this communicate? Some counterfactuals might be interesting to look at as well: the community college with more traditional architecture or the elite school, like a Caltech, that has a different architectural style.

New York’s skyline and buildings on 9/11 and today

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This set of photos compares New York’s skyline and buildings on September 11, 2001 to its current state. As you might expect, there is still quite a bit of construction going on. But, after a flurry of conversation in the years after 9/11 about how New York would rebuild, I have heard little in recent years about how this all might transform these spaces in New York City. The new One World Trade Center Place – the Freedom Tower – is interesting but how will it fit in with the surrounding neighborhood, fit in with New York’s skyline, and change New York’s identity?

Restricting McMansions, aka “White Whales”

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This story of trying to change zoning regulations to avoid teardown McMansions is fairly standard – but it also includes a new name for McMansions: “white whales.”

Residents in East Rockville are considering creating what’s known as a neighborhood conservation district in an effort to curb mansionization—the proliferation of large homes that seem like mismatches among the smaller ones that surround them, including an East Rockville residence derisively referred to as “The White Whale.”…

East Rockville is mostly comprised of single-family homes built in the early 1940s and during the World War II housing boom. But despite the city’s revised zoning code in 2009, developers have still been able to build massive residences—many of them functioning as rentals for multiple families—that just seem out of character in East Rockville, neighbors complain.

East Rockville residents have publicly voiced their concerns over preserving the integrity of their neighborhood, having testified at Rockville City Council meetings and writing letters to city officials…

Meanwhile, the city council has been discussing the problem, but can’t seem to agree on how to go about fixing it—preserving property owner’s rights, attempting to legislate taste, and other unintended consequences are only a few of the issues complicating things.

I have not heard this term for McMansions before. The photo accompanying the story portrays one of these “white whales” and it is indeed large. But, there are a couple of issues here:

1. Size is one issue. Lots of teardown controversies involve this. From this one photo, it looks like this is a large house and it also is large compared to nearby homes.

2. A second issue is the actual look of the house. When using white to describe the home, I presume critics are referring to the rather bland front dominated by white siding. Building guidelines can suggest certain styles and design elements. Interestingly, one critique of McMansions is that they their exteriors are too odd, perhaps mixing architectural styles, perhaps utilizing features and materials not found in the region, perhaps having ill-proportioned features. Neighborhoods likely want to set an “appropriate” design that isn’t too outlandish but isn’t that bland.

If you won’t want your neighbors to build a “white whale,” what color plus animal name would you prefer they build? We need a catchy alternative…

Another note: the Urban Dictionary has several definitions for “white whale.” The first doesn’t necessarily cast the McMansion opponents in the most positive light: “Something you obsess over to the point that it nearly or completely destroys you. An obsession that becomes your ultimate goal in life; one that your life now completely encircles and defines you.” The second might be more to McMansion opponents’ liking: “Term used to describe an opponent/nemesis who is extremely difficult to defeat. The term can also apply to miscellaneous games or events which are difficult to master.”

 

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When a new building can melt cars, the building is not a good neighbor

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Here is a story out of London of a new impressive-looking glass building that has an unfortunate side effect: it focuses the sun on a nearby area and causes destruction.

A new London skyscraper that reflects sunlight at an intensity capable of melting parts of a car became the latest attraction in the city’s financial district on Tuesday as the developers acted to find a quick fix.

The glass-clad tower, dubbed the Walkie Talkie for its distinctive flared shape, was blamed this week for warping the wing mirror, panels and badge on a Jaguar car parked on the street below the 37-storey building that is under construction.

Business owners opposite 20 Fenchurch Street pointed to sun damage on paintwork on the front of their premises and carpet burns. TV crews fried an egg in the sun beam reflected from a concave wall of the tower watched by bemused spectators…

The architect is Uruguayan-born Rafael Vinoly and the building’s concave design means developers can squeeze more money from its larger upper floors, where the views over London promise to be magnificent and rents are higher.

It is not the first time a Vinoly building has been linked to intense rays of sunlight. The Vdara Hotel in Las Vegas allegedly produced intense areas of heat, according to reports in U.S. media three years ago.

Perhaps there is room to wax about humanity’s attempts to tame nature and yet we can’t even master the angle of the sun’s rays.

But, this would also be a good time to note that buildings don’t exist in isolation to their surroundings. I remember talking with an architect a few years ago and talking about how architects might think about the larger social fabric, not just the footprint of their specific development. There is a lot of work that goes into designing big buildings but that can be for naught if the building sticks out from the surrounding area. This doesn’t mean all buildings have to be of the same design or look the same; fitting into particular styles is one part of it (think of the similarities of the tallest buildings in Chicago’s skyline) but so is whether the building is inviting to people passing by. New Urbanists make this argument: Americans have tended to stress the private realm of single-family homes but homes can also be oriented to the neighborhood, helping to promote social interaction through some design choices. Does the new building contribute to or detract from public spaces? This is particularly important in dense urban spaces – London definitely qualifies – where space is at a premium.

If your building is burning nearby areas or blocks the sunlight in drastic ways or presents a monolithic front to what was a lively street, then the building is not being a good neighbor. Looks and maximizing floor space aren’t everything; there is a social dimension to buildings that goes a long way toward whether the building is well regarded for decades or not.

Efficiency the reason we have the telephone button layout we have today

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Bell Labs made a number of important discoveries decades ago including making the choice of how telephone buttons should be laid out:

This layout is so standardized that we barely think about it. But it was, in the 1950s, the result of a good deal of strategizing and testing on the part of people at Bell Labs. Numberphile has dug up an amazing paper — published in the July 1960 issue of “The Bell System Technical Journal” — that details the various alternative designs the Bell engineers considered. Among them: “the staircase” (II-B in the image above), “the ten-pin” (III-B, reminiscent of bowling-pin configurations), “the rainbow” (II-C), and various other versions that mimicked the circular logic of the existing dialing technology: the rotary.

Everything was on the table for the layout of the ten buttons; the researchers’ only objective was to find the configuration that would be as user-friendly, and efficient, as possible. So they ran tests. They experimented. They sought input. They briefly considered a layout that mimicked a cross.

And in the end, though, Numberphile’s Sarah Wiseman notes, it became a run-off between the traditional calculator layout and the telephone layout we know today. And the victory was a matter of efficiency. “They did compare the telephone layout and the calculator layout,” she says, “and they found the calculator layout was slower.”

It is interesting that they searched for what was most efficient. This is not surprising; telephones are pieces of technology and the user is likely to want to dial the number as quickly as possible so they can get on with the phone call. But, efficiency isn’t necessarily everything. Imagine Steve Jobs and Apple, an organization known for their designs, made this initial choice: would they have chosen something more elegant or would they have selected efficiency as well? It is a small thing yet it hints at George Ritzer’s McDonaldization thesis where efficient and rational approaches tend to win out in our world.

A side note: Bell Labs should be better known in the United States for their role in developing new technologies.