The allure of clicks If more of us, as designers, approach what we encounter on design aggregators every day in this way, perhaps we can begin to effect some structural change. By and large these sites are just as susceptible to the allure of clicks as the craft of design. But if we are more selective about what we consume, we may be able to encourage design publications to follow that lead by applying editorial judgment to what gets shared every day. Khoi Vinh, Design Discourse is in a State of Arrested Development www.fastcompany.com consumption
From consumption to production I see no other solution (political, economic) to the problems of mankind than the formation of small responsible communities involved in permaculture and appropriate technology. I believe that the days of centralised power are numbered, and that a re-tribalisation of society is an inevitable, if sometimes painful, process. The greatest change we need to make is from consumption to production, even if on a small scale, in our own gardens. Bill Mollison, Introduction to Permaculture societyconsumptionproduction
High-priced good times Once again, a neighborhood dedicated to production has been transformed into one for consumption. As someone who believes that an internal balance between these activities is vital to the health, character, and autonomy of the city, I find that the sight of yet another zone of high-priced good times gives me the willies, even as I tuck into my perfect branzino in the lovely back garden of the delightful Italian restaurant. Michael Sorkin, 20 Minutes in Manhattan consumption
What premium mediocre is not So premium mediocrity is not clueless, tasteless consumption of mediocrity under the mistaken impression that it is actual luxury consumption. Maya Millennial is aware that what she is consuming is mediocre at its core, and only “premium” in some peripheral (and importantly, cheap, such as French-for-no-reason branding) ways. But she consumes it anyway. She is aware that her consumption is tasteless, yet she pretends it is tasteful anyway. Second the distinguishing feature is that premium mediocrity only signals an appearance of striving upwards. Everybody in the premium mediocre world recognizes that it is not a reliable indicator of actual upward striving, such as number of code commits on github, or non-bot retweets achieved by on a tweet. In other words, premium mediocrity is dressing for the lifestyle you’re supposed to want, in order to hold on to the lifestyle you can actually afford — for now — while trying to engineer a stroke of luck. Venkatesh Rao, Premium Mediocre www.ribbonfarm.com consumption
Consumption The proponents of technology in the 1840s were very enthusiastic about replacing workers with machines. But somehow I find no indication that they realized that while production could be carried out with few workers and still run to high outputs, buyers would be needed for those outputs. The realization that though the need for workers decreased, the need for purchasers could increase, did not seem to be part of the discourse on the machinery question. Since then, however, technology and its promoters have had to create a social institution – the consumer – in order to deal with the increasingly tricky problem that machines can produce but it is usually people who consume. Ursula M. Franklin, The Real World of Technology consumptionwastesociety
Stealth Architecture: The Rooms of Light and Space An Essay from Phenomenal: California Light, Space, Surface by Michael Auping To absorb it or build your ownA stealth architectThe measuring unit of all spaceThe walls are reserved for the sunA little too something+1 More
To absorb it or build your own Robert Smithson and other so-called land artists simply disengaged from architecture, placing their works in America's open landscape, leaving behind the museums and galleries Smithson referred to as "tombs". A new "expanded field" allowed artists to contextualize their work beyond the institutional frame of the museum or the commercial structure of a gallery. Richard Serra, who also began to move outdoors, at times chose to "attack" architecture, creating structures that disrupted or overwhelmed the buildings around them. The artists of the Light and Space movement took another tack. Rather than fight or flee the architecture, they explored and manipulated it, approaching architecture as a kind of found object, creating a series of rooms that incorporated architecture and architectural structures directly into their art. Bruce Nauman summarized it well: "When you work in a gallery or museum, the architecture is a given. If you wanted to have a show, you didn't have a choice, except to deal with it. You had to find a way to either absorb architecture into the piece of build your own." Conditional art architecture
A stealth architect By the 1970s, Irwin was in effect a stealth architect. We often talk about the ephemeral qualities of light and space in Irwin's installations, but what make those qualities palpable to our perception are practical structures—windows, walls, corridors, doorways, and skylights—in other words, architecture. And Irwin was keenly aware of how best to use all of those structures. One of his greatest talents has been to engage bad or benign architectural situations, disappearing into their details, changing them, and creating and entirely new quality of space. architecture
The measuring unit of all space The piece was titled The Portal, referring to a large opening in the center of the wall. Whether you want to call it art or architecture, it was a testament to the amazing presence that can be shown by a simple wall, which [Tadao Ando] has referred to as "the measuring unit of all space." wallsspace
The walls are reserved for the sun Maria Nordman always insisted, "Nothing should hang on a wall. The walls are reserved for the sun." It was like being inside a large cardboard box that had been gently slit open with an X-Acto knife, allowing thin planes of light to emerge. It is well known that Nordman avoided using the camera to document her installations, feeling that it abstracted and framed various aspects of the experience, which is best absorbed more holistically. It is ironic that Nordman's rooms often took the form of a kind of architectural camera in which slits in walls and corners created mysterious apertures that allowed light to leak into a room at a glacial pace. Being inside one of Nordman's spaces is like being inside a camera operating in exceedingly slow motion. wallsphotography
A little too something As Irwin had chosen a stairwell for his UCLA installation because it was curious in its banality and innocuousness, Bruce Nauman became interested in corridors and shafts as overlooked and slightly eccentric spaces. He was particularly interested in those that had "a kind of constriction that wasn't natural or was a little too long or a little too something—like the architect just hadn't really thought it out." Merely a building
Various titles of Bruce Nauman artworks Sound Breaking Wall Get Out of My Mind, Get Out of This Room False Silence Flayed Earth Flayed Self (Skin/Sink) Room with My Soul Left Out, Room That Does Not Care Bruce Nauman horroreuphony