A sensitively tailored combination of modes Efficiency is produced not by the sort of movement monoculture of cars-only American cities but by a sensitively tailored combination of modes sited to exploit the particular efficiencies of each and providing useful duplication and alternative. Michael Sorkin, 20 Minutes in Manhattan efficiencytransportation
Conversations, not commandments Good software comes from a vision, combined with conversations not commandments. In a craft-focused environment, care for efficiency, simplicity, and details really do matter. I didn’t leave my last job just because I wanted to make something new. I left because I wanted to make it in a way I could be proud of. Pirijan Ketheswaran, Why Software is Slow and Shitty pketh.org detailscraftsimplicityefficiency
Dwelling densities and diversity The reason dwelling densities can begin repressing diversity if they get too high is this: At some point, to accommodate so many dwellings on the land, standardization of the buildings must set in. This is fatal, because great diversity in age and types of buildings has a direct, explicit connection with diversity of population, diversity of enterprises and diversity of scenes. Among all the various kinds of buildings (old or new) in a city, some kinds are always less efficient than others in adding dwellings to the land. A three-story building will get fewer dwellings onto a given number of square feet of land than a five-story building; a five-story building, fewer than a ten-story building. If you want to go up far enough, the number of dwellings that can go onto a given plot of land is stupendous—as Le Corbusier demonstrated with his schemes for a city of repetitive skyscrapers in a park. But in this process of packing dwellings on given acreages of land, it does not do to get too efficient, and it never did. There must be leeway for variety among buildings. All those variations that are of less than maximum efficiency get crowded out. Maximum efficiency, or anything approaching it, means standardization. Jane Jacobs, The Death and Life of Great American Cities efficiency
The mirror-image economy When we enter the world of refuse and waste, we cross over into a mirror-image economy. In the "normal" world, we pay to acquire things; on the other side of the looking glass, we pay to get rid of them. Junk isn't merely worthless; it has negative value. A chemical engineer once told me about a recent improvement in a manufacturing process; by fine-tuning a chemical synthesis he had increased the yield of a certain commodity from 98 percent to 99 percent. I congratulated him, but I couldn't help remarking that this seemed like a rather paltry improvement. "Ah, you miss the important point," he said. "The amount of waste goes from 2 percent down to 1 percent. It's cut in half. We save tremendously on disposal costs." Brian Hayes, Infrastructure: A Guide to the Industrial Landscape wasterecyclingtrashefficiencyeconomics
Taylorism “In the past the man has been first. In the future the system must be first.” — Fred W. Taylor Taylorism was a way of thinking that came at the expense of the workers’ own knowledge of their system. Taylor summed up his philosophy thus: “It is only through enforced standardization of methods, enforced adoption of the best implements and working conditions, and enforced cooperation that this faster work can be assured. And the duty of enforcing the adoption of standard and enforcing this cooperation rests with the management alone.” The unscripted practices of the old offices would remain, but as a kind of subterfuge: in the future, a leisurely pace wouldn’t be the norm; time would not be given, but stolen. Nikil Saval, Cubed systemsefficiency
Efficiency is the Enemy An Article fs.blog Many of us have come to expect work to involve no slack time because of the negative way we perceive it. In a world of manic efficiency, slack often comes across as laziness or a lack of initiative. Without slack time, however, we know we won’t be able to get through new tasks straight away, and if someone insists we should, we have to drop whatever we were previously doing. One way or another, something gets delayed. The increase in busyness may well be futile. It’s Time to Embrace Slow Productivity efficiencyproductivitywork
Muda, Muri, Mura An Article mag.toyota.co.uk Eliminating waste is the key to efficiency – in the Toyota Production System, this is termed as: Muda (waste), Muri (overburden), and Mura (irregularity). productionwastemanagementefficiency
The Architecture of Happiness A Book by Alain de Botton www.alaindebotton.com A few millimeters apartTragic colorsClassical absurdityIdeas of a good lifeThe people we love+13 More architecturehappinesslife
A few millimeters apart Aesthetes force us to consider whether happiness may not sometimes turn on the presence or absence of a fingerprint, whether in certain situations beauty and ugliness may not lie only a few millimeters apart, whether a single mark might not wreck a wall or an errant brush stroke undo a landscape painting. details
Tragic colors Life may have to show itself to us in some of its authentically tragic colors before we can begin to grow properly visually responsive to its subtler offerings. melancholy
Classical absurdity Corbusier observed that the requirements of flight of necessity rid airplanes of all superfluous decoration and so unwittingly transformed them into successful pieces of architecture. To place a Classical statue atop a house was as absurd as to add one to a plane, he noted, but at least by crashing in response to this addition, the plane had the advantage of rendering its absurdity starkly manifest. Shorten the wingsTowards a New ArchitectureForm follows function function
Ideas of a good life In essence, what works of design and architecture talk to us about is the kind of life that would most appropriately unfold within and around them. They tell us of certain moods that they seek to encourage and sustain in their inhabitants. While keeping us warm and helping us in mechanical ways, they simultaneously hold out an invitation for us to be specific sorts of people. They speak of visions of happiness. To describe a building as beautiful therefore suggests more than a mere aesthetic fondness; it implies an attraction to the particular way of life this structure is promoting through its roof, door handles, window frames, staircase, and furnishings. A feeling of beauty is a sign that we have come upon a material articulation of certain of our ideas of a good life. architecturebeauty
The people we love The objects we describe as beautiful are versions of the people we love. loveobjects
The search for happiness If the search for happiness is the underlying quest of our lives, it seems only natural that it should simultaneously be the essential theme to which beauty alludes. happiness
An equivalence In both early Christianity and Islam, theologians made a claim about architecture likely to sound so peculiar to modern ears as to be worth of sustained examination: they proposed that beautiful buildings had the power to improve us morally and spiritually. They believed that, rather than corrupting us, rather than being an idle indulgence for the decadent, exquisite surroundings could edge us towards perfection. A beautiful building could reinforce our resolve to be good. Behind this distinctive claim lay another astonishing belief: that of an equivalence between the visual and ethical realms. ethicsaestheticsgoodness
Inwardly to resemble What we want, at the deepest level, is inwardly to resemble, rather than physically to possess, the objects and places that touch us through their beauty. We can conclude from this that we are drawn to call something beautiful whenever we detect that it contains in a concentrated form those qualities which we personally, or our societies more generally, are deficient. beauty
The gathering darkness of a Sunday evening Our jobs make relentless calls on a narrow band of our faculties, reducing our chances of achieving rounded personalities and leaving us to suspect (often in the gathering darkness of a Sunday evening) that much of who we are, or could be, has gone unexplored. work
What we don't like A grasp of the psychological mechanism behind taste may not change our sense of what we find beautiful, but it can prevent us from reacting to what we don’t like with simple disbelief. Our understanding of the psychology of taste can in turn help us to escape from the two great dogmas of aesthetics: the view that there is only one acceptable visual style or (even more implausibly) that all styles are equally valid. taste
Over-imagination An architect intent on being different may in the end prove as troubling as an over-imaginative pilot or doctor. However important originality may be in some fields, restraint and adherence to procedure emerge as the more significant virtues in a great many others. We rarely wish to be surprised by novelty as we round street corners. We require consistency in our buildings, for we are ourselves frequently close to disorientation and frenzy. The signature designnovelty
The extremes of order and complexity Such works emphasize the truth of the ancient maxim that beauty lies between the extremes of order and complexity. It follows that the balance we approve of in architecture, and which we anoint with the word ‘beautiful’, alludes to a state that, on a psychological level, we can describe as mental health or happiness. Like buildings, we, too, contain opposites which can be more or less successfully handled. beauty
Beauty and strength Yet the bridge testifies to how closely a certain kind of beauty is bound up with our admiration for strength, for man-made objects which can withstand the life-destroying forces of heat, cold, gravity or wind. We respond with emotion to creations which transport us across distances we could never walk, which shelter us during storms we could not weather, which pick up signals we could never hear with our own ears and which hang daintily off cliffs from which we would fall instantly to our deaths. beauty
With grace and economy Both bridges accomplish daring feats, but Maillart’s possesses the added virtue of making its achievement look effortless - and because we sense it isn’t, we wonder at it and admire it all the more. The bridge is endowed with a subcategory of beauty we can refer to as elegance, a quality present whenever a work of architecture succeeds in carrying out an act of resistance - holding, spanning, sheltering - with grace and economy as well as strength; when it has the modesty not to draw attention to the difficulties it has surmounted. beauty
The dignity of age Wood and stone, and now concrete and wood, age slowly and with dignity. They do not shatter hysterically like glass, or tear like paper, but discolor with a melancholy, noble air. Things that shine and glitter time
Apportioning value Contrary to the Romantic belief that we each settle naturally on a fitting idea of beauty, it seems that our visual and emotional faculties in fact need constant external guidance to help them decide what they should take note of and appreciate. ‘Culture’ is the word we have assigned to the force that assists us in identifying which of our many sensations we should focus on and apportion value to. aesthetics
There was no fog in London It is books, poems and paintings which often give us the confidence to take seriously feelings in ourselves that we might otherwise never have thought to acknowledge. Oscar Wilde referred to this phenomenon when he quipped that there was no fog in London before Whistler started painting the Thames. Likewise, there must have been little beauty in old stones before Japanese priests and poets began writing about them.
To the worms and the trees We owe it to the fields that our houses will not be the inferiors of the virgin land they have replaced. We owe it to the worms and the trees that the buildings we cover them with will stand as promises of the highest and most intelligent kinds of happiness. architecture