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
Towards a New Architecture A Book by Le Corbusier en.wikipedia.org The house is a machine for living inBut men live in old housesPrimitive resourcesEmploys nothing at allAll the work of an epoch+6 More Classical absurdity
But men live in old houses It is not right that we should produce bad things because of a bad tool; nor is it right that we should waste our energy, our health and our courage because of a bad tool; it must be thrown away and replaced. But men live in old houses and they have not yet thought of building houses adapted to themselves. tools
Primitive resources There is no such thing as primitive man; there are primitive resources. resources
Employs nothing at all The man of today planes to perfection a board with a planing machine in a few seconds. The man of yesterday planed a board reasonably well with a plane. Very primitive man squared a board very badly with a flint or a knife. Very primitive man employed a unit of measurement and regulating lines in order to make his task easier. The Greek, the Egyptian, Michaelangelo or Blondel employed regulating lines in order to correct their work and for the satisfaction of their artist’s sense and of their mathematical thought. The man of today employs nothing at all and the result is the boulevard Raspail. The Nature and Art of Workmanship tools
All the work of an epoch Style is a unity of principle animating all the work of an epoch, the result of a state of mind which has its own special character. Our own epoch is determining, day by day, its own style. Our eyes, unhappily, are unable yet to discern it. style
A taste for fresh and clear daylight Tail pieces and garlands, exquisite ovals where triangular doves preen themselves or one another, boudoirs embellished with “poufs” in gold and black velvet, are now no more than the intolerable witnesses to a dead spirit. These sanctuaries stifling with elegance, or on the other hand with the follies of “Peasant Art,” are an offense. We have acquired a taste for fresh and and clear daylight.
Eyes which do not see Our epoch is fixing its own style day by day. It is there under our eyes—Eyes which do not see. seeingstyle
The problem of the house has not yet been stated The lesson of the airplane is not primarily in the forms it has created, and above all we must learn to see in an airplane not a bird or a dragon-fly, but a machine for flying; the lesson of the airplane lies in the logic which governed the enunciation of the problem and which led to its successful realization. When a problem is properly stated, in our epoch, it inevitably finds its solution. The problem of the house has not yet been stated. problems
At the Green Mosque In Broussa in Asia Minor, at the Green Mosque, you enter by a little doorway of normal human height; a quite small vestibule produces in you the necessary change of scale so that you may appreciate, as against the dimensions of the street and the spot you come from, the dimensions with which is is intended to impress you. Then you can feel the noble size of the mosque and your eyes can take its measure. You are in a great white marble space filled with light. Beyond you can see a second similar space of the same dimensions, but in half-light and raised on several steps (repetition in a minor key); on each side still a smaller space in subdued light; turning round, you have two very small spaces in shade. From full light to shade, a rhythm. Tiny doors and enormous bays. You are captured, you have lost the sense of the common scale. You are enthralled by a sensorial rhythm (light and volume) and by an able use of scale and measure, into a world of its own which tells you what it set out to tell you. 112. Entrance Transition doors
Poems of an Indian summer To build one's house is very much like making one’s will. When the time does arrive for building this house, it is not the mason’s nor the craftsman’s moment, but that moment in which every man makes one poem, at any rate, in his life. And so, in our towns and their outskirts, we have had during the last forty years not so much houses as poems, poems of an Indian summer, for a house is the crowning of a career. Rand HillJapanese Death PoemsEach ruler commissioned his own gardenThe Abode of Fancy melancholyhomedeathpoetry
A grave and noble beauty An architecture of our own age is slowly but surely shaping itself; its main lines become more and more evident. The use of steel and reinforced concrete construction; of large areas of plate glass; of standardized units (as, for example, in metal windows); of the flat roof; of new synthetic materials and new surface treatments of metals that machinery made possible; of hints taken from the airplane, the motor-car or the steamship where it was never possible, from the beginning, to attack the problem from an academic standpoint—all these things are helping, at any rate, to produce a twentieth-century architecture whose lineaments are already clearly traceable. A certain squareness of mass and outline, a criss-cross or “grid-iron” treatment with an emphasis on the horizontals, an extreme bareness of wall surface, a pervading austerity and economy and a minimum of ornament; these are among its characteristics. There is evolving, we may begin to suppose, a grave and classical architecture whose fully developed expression should be of a noble beauty. beauty