Tag Archives: design

Finding new ways to store your bike in the city

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With space at a premium in many cities, some people have developed innovative ways to store bicycles:

Fortunately some cities have responded to the challenge with exceptional ingenuity. Japanese engineers have developed a multi-level “cycle tree” — perhaps more appropriately named a “cycle cave” — that stores bikes in an elaborate underground system. Riders feed their bike into a mechanized rut that sends it down into a designated spot, retrieving the bike later with a simple swipe of a card. One “cycle tree” in Tokyo, considered the world’s largest, holds some 6,500 bikes.

A truer bike tree can be found in Geneva, where riders can watch their bike raised high above the hands of thieves while remaining protected from the elements. In that same anti-theft vein, German designers have created a bike lock with inline wheels and a small motor that enables riders to power their bikes high up a street pole. Seoul, Korea, is working toward a system of bike hangers that cling to the site of residential buildings; riders can park for just $15 a year, though they have to pedal to retrieve their bike. A slightly less advanced version of this concept has been implemented already by some riders in the East Village…

Those who don’t mind cramming their bikes into their apartments have a growing number of options as well. These range from basic wooden wall mounts to simple, cheap wall hooks to stylish, colorful hanging nodes to elegant bike storage furniture that, in the words of Freshome, “unite cycling culture with interior design.” A Times slideshow from a few years back showcases some other space-saving solutions. These include a wall device that lifts bikes off the ground with a hydraulic spring, a freestanding rack made of oak, an incredibly compact and sleek wall hook, and a similar structure that, while bulkier, provides space for helmets and other equipment.

Many city dwellers, conscious of their limited apartment space, are now looking for bike storage devices that serve a double purpose. Knife & Saw recently introduced a hanging bike shelf that also acts as a small bookshelf. Less costly variations are starting to appear as well. Those with a balcony might consider a bike-shelf-birdhouse combination that holds a helmet as easily as it holds a helmetshrike. The most innovative, though perhaps also the least comfortable, design goes to Store Muu Design Studio, which conceived a sort of hybrid bike-desk, wherein the bike seat doubles as the office chair.

Some fascinating pictures to look at. You can even find out a little more about what happened to the foldable bicycle.

“Home is where the hub is”

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A recent study looks at how being connected through the Internet and other gadgets at home changes what home is:

What the web has inspired, then, is a postmodern understanding of what “home” is: a de-physicalised, conceptual and psychological phenomenon that externalises its invisible meanings. And interaction designers recognise this: the web is another castle that the Englishman can live in, and he seeks to create virtual places that have as much effect on pride, self-esteem and identity as the bricks and mortar version where he sleeps…

I am constantly connected when I’m at home. It is my companion when watching a movie, it is my entertainment system when listening to the radio, it is my connection to the family and friends I speak with on VoIP. Sociologist Kat Jungnickel and anthropologist Genevieve Bell suggest that my over-networked experience isn’t unusual in Home is Where the Hub is? Wireless Infrastructures and the Nature of Domestic Culture in Australia: “Some read their emails and Google for news in front of the TV while others breastfeed while surfing the net. In the kitchen, they look for recipes or talk with friends via IM. In bed they write emails or shop on eBay.” The rooms once allocated for specific purposes have been co-opted by other (digital) tasks.

This isn’t always welcome. In one of Jungnickel and Bell’s case studies, a participant describes the conflicts that arise from home-multiplicity: “Sal tells of the congestion zone caused by the chameleonic characteristics of the kitchen table,” they write. “During the day it is her new computing space, and at night it is the social, cooking washing-up space for both of them.” Each online activity has imposed itself on our home-practice. We are experiencing a domestic transition as the web collaborates and competes with old “new” technologies such as the TV, the researchers argue. It “complicates” characteristics of the physical space.

We are adaptable creatures and will work within the confines of our existing homes to integrate this new creature into our lives. We have already made the web part of our domestic ecologies and we continually imbue it with a sense of place. Perhaps its malleability is why it has been so successful and why we are willing to bring this interruptive technology into our most intimate worlds.

In recent decades, commentators have suggested that Americans have retreated into their large homes and lost their connection to their communities. But this may be suggesting that while Americans may have withdrawn, they are still interested in being connected. However, this connection looks different than it has in the past. The connection now happens at the times of the individual’s own choosing, it is done at a distance, and it is unclear how much this translates into offline world action.

I don’t think we should be too surprised that the concept of home is changing. Our current understanding dates back roughly to the mid 1800s when homes were built with separate rooms to separate uses: sleep in one room, eat in another, cook in another, etc. Before that, homes were more multi-use as more people used their home for work as well as family life. It would be interesting to think about how the quick expansion of Internet connectedness might lead to new designs for homes or introduce interior spaces that enhance this connectedness. Already, we have more static gadgets that have been adapted, such as televisions including Internet apps, so why not dining rooms, bathrooms, and front porches plus back patios?

Tracing the McMansion Palladian window back to 16th-century Italy

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A common design feature of the American McMansion is the Palladian window, often over the front doorway and showing off the expansive, two-story foyer. One writer suggests Palladian design features can be found throughout the Pittsburgh region:

Want to see more? OK, let’s take a walk in any local area. Aspinwall or Avalon? Highland Park or Shadyside? You’ll wear yourself out counting Palladian features on houses and apartments, occasionally a grand facade in one place, sometimes just a simple Palladian window ornamenting the attic of a modest home in another.

And then, before you’re totally exhausted, take a drive through Upper St. Clair or Peters and take in all of the Palladian windows you will find on what seems like every fifth McMansion built in those towns in the past 30 years.

Continuing, the same writer gives us some insights into how Antonio Palladio’s designs became popular and part of the American architectural vocabulary:

Palladio designed about 45 villas and palazzos (country houses and town houses) for wealthy clients in and around his adopted home town of Vicenza and nearby Venice, which is about 40 miles away. He also designed significant public buildings in both towns, including major churches in Venice — the best known being the church of San Giorgio Maggiore — which is directly across the water from the Piazza San Marco and the subject of thousands of picture postcards over the years.

But, what really brought him fame is his published work “I Quattro Libri dell’ Architettura” or “The Four Books of Architecture.” These books, when translated into English at the beginning of the 18th century, captivated English architects, who eagerly copied his works and his style. Palladianism coursed like a river through the architectural styles of the Georgian Period — the approximately 120-year reign of the Kings George I through IV. As the prevailing styles in England at the time of the flowering of the American colonies, they were copied here in public buildings, churches and houses.

Thomas Jefferson, as a gentleman architect, was infatuated, and based his designs for Monticello on Palladian ideals. He even proposed a near-copy of a famous Palladian villa as his unsuccessful bid for the design of a presidential mansion in Washington. (Today’s White House is a somewhat more Anglicized version of Palladianism.)

What makes the Palladian features of McMansions problematic for critics (an example here) is that it is not seen as being “authentic.” For example, the Palladian window might sit beneath a French gable roof. Thomas Jefferson may have popularized the style but he did so in a more “true” structure that incorporates a number of a Palladian elements rather than simply picking one part out and slapping it up on the facade because it looks nice.

Even though I have heard about Palladian features many times, I was unaware about its roots in 16th century Italy. Is there anywhere in the general American education (grade school through college) where more modern architectural features comes up? I know students learn about Greek columns and temples but what about more modern buildings, like the steel skeletons of skyscrapers, the balloon-framed house, roof styles, and more. Is this a deficit in general knowledge that encourages architectural pastiche like McMansions? Is this generally left to history and art classes? What if all college graduates had the knowledge of a basic architectural field guide that they then could mentally carry around for the rest of their lives?

Sears appliance circular does strange things to the Chicago skyline

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It is not too unusual for cities to be misrepresented in movies or television shows but this takes place in other areas as well. A Sears advertising circular from Friday, September 9, takes some interesting liberties with the Chicago skyline. Take a look:

Perhaps this looks fairly standard: the Sears logo in the top left, a “big price drop” balloon coming down from the sky in the upper right corner, six appliances on sale, and then a picture of the Chicago skyline at the bottom. While this may be just pandering to this metropolitan region, it also hints at Sears’ history: the first Sears store opened in Chicago in 1925 and their headquarters are still in the region.

But if you look more closely at the skyline picture, two strange things pop up. The first: a green lawn. Here is a close-up of the bottom left of the circular:

This green view is pretty much impossible. To get a wide view of the skyline from this angle, one needs to be at the Adler Planetarium promontory. From there, one needs to stand either on a hill sloping down, meaning the lawn is difficult to get into the shot, or from the concrete steps or walkway that go around this point. Plus, the grass is pretty high here relative to the height of the buildings. So why include the grass? It would make some sense if the circular was advertising lawn mowers – but it is not. Perhaps the “big price drop” balloon needs a safe place to land. Or the circular needs a touch of pleasing green. Or a focus group suggested the green lawn invokes images of home life, the need for beautiful appliances, and the American Dream.

In addition to the strange grass, there is something odd going on at the right (east) side of the skyline. Here is a closer view:

Even looking closely at the circular, I have a hard time figuring out what is going on here. It appears to be a hill sloping up from the lake with some buildings on the hill. Why was this added to the picture? I really have no good idea – to fill up space?

Here is what the view of the Chicago skyline looks like from my own camera near Adler Planetarium, sans verdant lawn or black hill:

If this was the starting point for the Sears image, one could crop and play with it in such a way that the added blue from Lake Michigan could be removed but adding the lawn and hill is not necessary. It would still be a very nice and useful shot.

Searching for a new vision for Navy Pier

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Those in charge of Navy Pier have been searching for some years now for a new plan that will enhance this popular space:

In 2006, pier officials unveiled plans for a glitzy theme park-style remake of the 3,000-foot lakefront icon. The design (left) was tacky and backward-looking, relying on such gimmicks as a roller coaster and floating parking garages disguised as ships. We should all be thankful it was shot down.

Now, five years later, pier officials appear to have raised their sights and rightly recognized that Navy Pier is primarily a public space, not a shopping mall by the sea.

As they announced yesterday, they’re embarking on an international search for teams of architects and other designers to give the pier’s public spaces a new look.

As a long-range framework plan by the Chicago office of Gensler makes clear (above), Navy Pier 2.0 is not going to be one of those cutesy, festival marketplaces–a halfway house for suburbanites easing their way into the big, bad city. Inspired by the example of Millennium Park, it will strive for something more aesthetically daring.

This sounds like a good change of course: make sure that Navy Pier is a place worthy of a world class city like Chicago rather than developing a kitschy tourist trap. I would be interested, however, in knowing which “cutesy, festival marketplaces” that Kamin is referring to. Places like Reading Market Terminal in Philadelphia? Faneuil Hall Marketplace in Boston? The Original Farmers Market in Los Angeles? On what exactly place should Navy Pier be modeled?

I was down at Navy Pier a few weeks on a beautiful August night in Chicago. Having not been there for a few years, I was pleasantly surprised: the tourist aspect wasn’t too strong (granted, we didn’t go inside the shopping area at the front), the Ferris Wheel is an interesting attraction (with some good sunset views), the combination of the Chicago Shakespeare Theater and the Smith Museum of Stained Glass Windows gives the space some higher culture, and the weather, sunset, and happy but peaceful crowds made the stroll to the end of the pier quite enjoyable. Here was the view looking to the northwest:

Navy Pier Sunset Aug 2011

As many sociologists would argue, places like Navy Pier can and should be valuable public spaces that need to be available to all people.

How a 6,000 square foot Robert A.M. Stern home in East Hampton escapes being called a McMansion

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A basic component of the term McMansion is a large house. But this defense of a large Robert A.M. Stern home in East Hampton shows that this isn’t a necessary component of the term McMansion:

Looking past the seven bedrooms, this Brown Harris Stevens listing on Lee Avenue in East Hampton seems to be an antidote to the McMansion trend currently occurring in the ‘Gauche-ing over’ of the East End, making a seemingly cozy use of its 6,000 square feet…

From the language in the listing, the fully screened-in porch is the work of Robert A.M. Stern (the listing says “Robert Stern” but we’re going to assume that they’ve left the A.M. off for those ‘in the know”), making it a nice, neighboring companion piece to the library and town hall that Yale’s dean of architecture has designed for East Hampton over the last 20 years.

So, while the deck—and attached house—will run you $6.5 million, you will be getting an adorable piece of early 20th century living with a late 20th century porch on roughly an acre of land in the tony Georgica section of East Hampton.

Perhaps I am just being cynical but it sounds like this home is not a McMansion simply because it was designed by a well-known architect. Because of this, it is better quality and more aesthetically pleasing.

If you look at the slideshow pictures, the home does seem to avoid some McMansion design features: no pretentious columns or two-story foyers; the rooms have some traditional features; and the kitchen is not full of granite countertops, a Viking stove, or a Sub-Zero refrigerator (at least as far as we can see).

Still, it is a 6,000 square foot home. Can that much space really be cozy? Only in places like the Hamptons could this size home seem restrained. What about arguments that all big homes are bad (large homes don’t fit with other green products) or need to be regulated (see this recent discussion in Australia)?

C. Wright Mills influences movie about white-collar cubicles

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A new movie about white-collar cubicle workers is influenced by the work of sociologist C. Wright Mills:

In his 1951 book “White Collar,” the sociologist C. Wright Mills acknowledged the powerlessness of the white-collar worker while also understanding his importance within a larger context: “Yet it is to this white-collar world that one must look for much that is characteristic of twentieth-century existence … They carry, in a most revealing way, many of those psychological themes that characterize our epoch, and, in one way or another, every general theory of the main drift has had to take account of them.”…

Mills’s thinking was a major inspiration for the filmmaker Zaheed Mawani, who documents the resigned reality of the cubicle-coralled white-collar worker in his new film “Three Walls” (you can watch a clip here). Mawani’s film brings to the screen what numerous long-term studies have shown: that a lack of autonomy over one’s daily tasks leads to boredom (at best), utter despair and even increased mortality rates. Yet, time and again, proposed solutions ignore these deeper issues and focus instead (see last month’s column) on the furniture.

Mawani has used the cubicle to explore larger issues in the world of work. As he and I both discovered, passions run high around the most seemingly banal piece of furniture: it has its arch defenders, its resigned occupiers and its rigorously vocal critics. Mawani was interested in examining what the cubicle has come to represent, as he explained in an e-mail to me, “in terms of the shifting nature of white collar work: the lack of job security, increase in temporary workers, our detachment to work (the fact that we no longer stay in the same job for more than a few years and the ramifications of no longer having that employee-employer bond). It’s also about our relationship to technology, the lack of physicality in work.”

Is there really much more to say about the cubicle, a piece of office furniture that has received much criticism over the years? For many, the cubicle has come to represent a temporary space where workers are simply replaceable cogs in corporate machines that tend to benefit some wealthy owner somewhere else.

This discussion reminds me of the design firm IDEO which has been featured in a number of places for creating a different type of workplace: no walls, open desks, lots of toys, lots of collaborative space, and a lot of interaction between workers of different backgrounds in order to take advantage of everyone’s ideas. For an example of how they operate, I’ve had students watch this old ABC Nightline clip about how the company went about designing a new grocery cart. This sort of office seems to appeal to a younger generation and IDEO argues that it is much more effective. (Humorously, here is IDEO’s attempt to build “Dilbert’s Ultimate Cubicle.”)

The idea that office furniture can reveal deep-seated cultural themes is intriguing. I’m afraid to ask what someone might be able to see if they had time to observe my office…

The social history of the food pyramid

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With the unveiling later this week of a replacement to the food pyramid (it will be a “plate-shaped symbol, sliced into wedges for the basic food groups and half-filled with fruits and vegetables”), the New York Times provides a quick look at the background of the food pyramid:

The food pyramid has a long and tangled history. Its original version showed a hierarchy of foods, with those that made up the largest portions of a recommended diet, like grains, fruit and vegetables, closest to the wide base. Foods that were to be eaten in smaller quantities, like dairy and meat, were closer to the pyramid’s tapering top.

But the pyramid’s original release was held back over complaints from the meat and dairy industry that their products were being stigmatized. It was released with minor changes in 1992.

A revised pyramid was released in 2005. Called MyPyramid, it turned the old hierarchy on its side, with vertical brightly colored strips standing in for the different food groups. It also showed a stick figure running up the side to emphasize the need for exercise.

But the new pyramid was widely viewed as hard to understand. The Obama administration began talking about getting rid of it as early as last summer. At that time, a group of public health experts, nutritionists, food industry representatives and design professionals were invited to a meeting in Washington where they were asked to discuss possible alternative symbols. One option was a plate.

Two things stand out to me:

1. This is partly about changing nutritional standards but also is about politics and lobbying. Food groups are backed by businesses and industries that have a stake in this. Did they play any part in this new logo?

2. This is a graphical design issue. The old food pyramid suggests that certain foods should be the basis/foundation for eating. The most recent pyramid is a bit strange as the pyramid is broken into slivers so the peaking aspect of a pyramid seems to have been discarded. The new logo sounds like it will be a more proportional based object where people can quickly see what percentage of their diet should be devoted to different foods. Since this is a logo that is likely to be slapped on many educational materials and food packages, it would be helpful if it is easy to understand.

TED curator on moving away from McMansions to better-designed cities

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TED Curator Chris Anderson recently spoke at Harvard and envisioned a bright human future in cities rather than McMansions:

Designers have the answers to “the most important question we all face,” TED curator Chris Anderson told imminent Graduate School of Design graduates on Wednesday. “Can the coming world of 10 billion people survive and flourish without consuming itself in the process?” The key lies in finding “better ways to pattern our lives,” he added: “There is nothing written into our nature that says that the only path to a wonderful, rich, meaningful life is to own two cars and a McMansion in the suburbs.”…

Much of a successful future lies in “re-imaging what a city can be,” Anderson said. People will live closer together—“if only to give the rest of nature a chance,” and cities already offer “richer culture, a greater sense of community, a far lower carbon footprint per person—and the collision of ideas that nurtures innovation.” But architects have the means to incorporate “light, plant, trees, water, and beautiful forms into the city’s structures and landscapes” and imagine new ways for people to work and connect “without sacrificing your grandchildren.”

Technological trends in computer-assisted programs and construction techniques and materials, he said, make design more adaptable and effective than ever in terms of large-scale projects that affect millions of lives. “Suddenly the fractals and curves of Mother Nature are a legitimate part of the architectural lexicon.” Moreover, cultural and intellectual notions around common human values are changing. “The toxic belief that human nature and aesthetic values are infinitely malleable, and determined purely by cultural norms” is dying, Anderson asserted. In its place, there is growing agreement that “we should think of humans differently, that far from living in separate cultural bubbles, we actually share millions of years of evolutionary biology.”

Anderson is right about the powerful cultural narrative of the American dream of a single-family home in the suburbs: it is a narrative that could change in the future. McMansions and suburbs seem to operate here as the antithesis of Anderson’s vision: sprawling, mass produced places that separate people into different “cultural bubbles.” This story suggests that Anderson thinks designers can offer an alternative that would change how Americans think about the city. Besides participating in TED, how exactly would designers make this pitch to the broader culture?

I wonder what exactly Anderson’s cities might look like and what cities (or city neighborhoods/areas) might serve as models.

The decline of the church steeple

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USA Today reports that the church steeple, once a key feature of church architecture, is on the decline:

Nationwide, church steeples are taking a beating and the bell tolls for bell towers, too, as these landmarks of faith on the landscape are hard hit by economic, social and religious change…

Architects and church planners see today’s new congregations meet in retooled sports arenas or shopping malls or modern buildings designed to appeal to contemporary believers turned off by the look of old-time religion.

Steeples may have outlived their times as signposts. People hunting for a church don’t scan the horizon, they search the Internet. Google reports searches for “churches” soar before Easter each year…

Today, he says, people want their church to look comfortable and inviting, “more like a mall.”

The article has some interesting points:

1. Churches look more inviting without a steeple. This is interesting as it suggests that a primary goal of church architecture is that people feel comfortable and avoid symbolic references to “old-time religion.” Several times in this story, the comparison is made to shopping malls: newer churches want to be inviting. I’m not sure that I particularly find shopping malls inviting – they are quite functional in what they intend to do, that is, generate profit – but I can see how they have more relaxed atmospheres. But should this be the major goal of church architecture?

2. Beside this cultural issue, this appears to be a budget issue for many churches as steeples cost money to build and maintain. These sorts of “frills” might be difficult to support in tough economic times. I like the example in the story of churches leasing out this space to cell phone companies: this is American pragmatism.

3. The idea that it was once important for people walking around a community to be able to see a steeple from a long distance is intriguing. What marks the skyline of a typical suburb or American small town today? (And let us be honest: how much can you see from a car, as opposed to walking, anyway? Perhaps this is why we have church signs that look more like signs for fast food restaurants or strip mall businesses. Are these more inviting as well?)

4. If the steeple is no longer a distinctive architectural feature of churches, what does mark these buildings from other typical buildings? Anything beyond a sign out front? But as the article suggests, perhaps this is the point.