crime
Traced in the summer skies
Yes, it was the hour when, a long time ago, I was perfectly content. What awaited me back then was always a night of easy, dreamless sleep. And yet something had changed, since it was back to my cell that I went to wait for the next day…as if familiar paths traced in summer skies could lead as easily to prison as to the sleep of the innocent.
Putting the streets to use
Tad Friend writes, if you build “nine hundred miles of sinuous highway and twenty-one thousand miles of tangled surface streets” in one city alone, then you’re going to find at least a few people who want to put those streets to use. This suggests that every city blooms with the kinds of crime most appropriate to its form.
Every heist is a counterdesign
Heists obsess people because of what they reveal about architecture’s peculiar power: the design of new ways of moving through the world. Every heist is thus just a counterdesign—a response to the original architect.
To commune with the space
...having realized long ago that the best way to commune with an architectural space was by breaking into it.
Bandits
A FilmA Burglar's Guide to the City
A Book by Geoff ManaughAuthorisation vs. Consent
An Article by Terence EdenI recently read this interesting, and distressing, story of a man who was drugged and robbed. A form of crime which has been going on for centuries. But the 21st Century twist is that the thieves forced him to transfer large sums of money via his phone's banking apps.
While under the influence, the victim used his usernames, passwords, PINs, and biometrics to send money to the criminal's accounts.
Is there a "technological" way to stop this? His banks initially refused to refund the stolen money. Only once the press stepped in did they relent. One bank, Revolut, said:
This was an unusual case where the payments were authorised by the customer but, as is now clear, without his consent.
Picking locks with audio technology
An ArticleThe series of audible, metallic clicks made as a key penetrates a lock can now be deciphered by signal processing software to reveal the precise shape of the sequence of ridges on the key's shaft. Knowing this, a working copy of it can then be 3D printed.
Painting With the Web
So much about [Gerhard Richter's painting process] reminds me of designing and building for the Web: The unpredictability, the peculiarities of the material, the improvisation, the bugs, the happy accidents. There is one crucial difference, though. By using static wireframes and static layouts, by separating design and development, we are often limiting our ability to have that creative dialogue with the Web and its materials. We are limiting our potential for playful exploration and for creating surprising and novel solutions. And, most importantly, we are limiting our ability to make conscious, well-informed decisions going forward. By adding more and more layers of abstraction, we are breaking the feedback loop of the creative process.
A constant dialogue
Have you ever seen Gerhard Richter painting?
It is phenomenal to watch. He might start one of his large, abstract paintings by carefully applying oil paint to the canvas with a thick brush. Then, he begins to scrape, smear, or add new layers of paint with a large, home-made squeegee. After each change, Richter pauses, takes a step back, and looks at the result: What did just happen with the picture? What composition has come about? Where have interesting parts emerged? What is the next move that might bring the piece one step closer to completion? And which action would be a mistake? There is a lot of intention and carefulness in this process, yet Richter equally respects the results of accident and chance. He lets go of a certain kind of control to let things happen that are surprising and exciting. But at the same time, Richter always exerts enough control to influence the result. He decides what to keep and what to destroy. It is the ultimate creative process: a constant dialogue.
Constant reflection and refinement
Ask any artist, musician, or writer and they might tell you that this conversation at the heart of the creative process is what makes their work special and so fulfilling. No piece of art exists in its final form in the head of the artist before the first brush stroke is put on the canvas. No musician has a full piece of music in her head without a conversation with instruments or the score. And no novel is done before the first word is put on paper or a computer screen. Constant reflection and refinement are key to creating any piece of work. This is what lets creators of any profession learn and grow, and, ultimately, achieve mastery. And the same is true for any user interface, design pattern, piece of code, or content on the Web.