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 Elements of Typographic Style A Book by Robert Bringhurst www.goodreads.com Leave the road when you wishTypography exists to honor contentTypographic styleA state of energetic reposeEvenness of color+10 More The utter nothingness of beingThe Elements of Style typography
Leave the road when you wish The subject of this book is not typographic solitude, but the old, well-traveled roads at the core of the tradition: paths that each of us is free to follow or not, and to enter and leave when we choose – if only we know the paths are there and have a sense of where they lead. That freedom is denied us if the tradition is concealed or left for dead. Originality is everywhere, but much originality is blocked if the way back to earlier discoveries is cut or overgrown. If you use this book as a guide, by all means leave the road when you wish. That is precisely the use of a road: to reach individually chosen points of departure. By all means break the rules, and break them beautifully, deliberately and well. That is one of the ends for which they exist. creativity
Typography exists to honor content In a world rife with unsolicited messages, typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn. Typography with anything to say therefore aspired to a kind of statuesque transparency. Its other traditional goal is durability: not immunity to change, but a clear superiority to fashion. Typography at its best is a visual form of language linking timelessness and time. timestyletypography
Typographic style Literary style, says Walter Benjamin, “is the power to move freely in the length and breadth of linguistic thinking without slipping into banality.” Typographic style, in this large and intelligence sense of the word, does not mean any particular style – my style or your style, or Neoclassical or Baroque style – but the power to move freely through the whole domain of typography, and to function at every step in a way that is graceful and vital instead of banal. style
A state of energetic repose Read the text before designing it. Discover the outer logic of the typography in the inner logic of the text. Make the visible relationship between the text and other elements (photographs, captions, tables, diagrams, notes) a reflection of their real relationship. Give full typographic attention even to incidental details. Invite the reader into the text. Reveal the tenor and meaning of the text. Clarify the structure and the order of the text. Link the text with other existing elements. Induce a state of energetic repose, which is the ideal condition for reading. The inner nature of material typography
Evenness of color The density of texture in a written or typeset page is called its color. Once the demands of legibility and logical order are satisfied, evenness of color is the typographer’s normal aim. And color in the typographic sense depends upon four things: the design of the type, the spacing between the letters, the spacing between the words, and the spacing between the lines. None is independent of the others.
A single note The simplest scale is a single note, and sticking with a single note draws more attention to the other parameters, such as rhythm and inflection. The early Renaissance typographers set each book in a single font – that is, one face in one size. Their pages show what sensuous evenness of texture and variety of rhythm can be attained with a single font of type.
The higher courts Refer typographic disputes to the higher courts of speech and thinking. Type is idealized writing, and its normal function is to record idealized speech. Acronyms such as CD and TV or USA and UFO are set in caps because that is the way we pronounce them. Acronyms such as UNESCO, ASCII, and FORTRAN, which are pronounced not as letters but as words, are in the process of becoming precisely that. When a writer accepts them fully into her speech and urges readers to do likewise, it is time for the typographer to accept them into the common speech of typography by setting them in lower case. Other acronymic words, such as laser and radar, have long since traveled the same road. typography
An antiphonal geometry A book is a flexible mirror of the mind and body. Its overall size and proportions, the color and texture of the paper, the sound it makes as the pages turn, and the smell of the paper, adhesive and ink, all blend with the size and form and placement of the type to reveal a little about the world in which it was made. If the book appears to be only a paper machine, produced at their own convenience by other machines, only machines will want to read it. Sizing and spacing type, like composing and performing music or applying paint to canvas, is largely concerned with intervals and differences. The page is a piece of paper. It is also a visible and tangible proportion, silently sounding the thoroughbass of the book. On it lies the textblock, which much answer to the page. The two together – page and textblock – produce an antiphonal geometry. That geometry alone can bond the reader to the book. Or conversely, it can put the reader to sleep, or put the reader’s nerves on edge, or drive the reader away.
Pure but silent Architects build perfectly proportioned kitchens, living rooms and bedrooms in which their clients will make, among other things, a mess. Typographers likewise build perfectly proportioned pages, then distort them on demand. The text takes precedence over the purity of the design, and the typographic texture of the text takes precedence over the absolute proportions of the pure but silent page. architecturetypography
A sterile sameness Another kind of random variation involves the interaction of the craftsman’s skill and the texture of materials. The letterforms of Griffo and Colines were cut with immense care. But the letters they cut were struck by hand in copper or brass, then cast and dressed and set by hand, inked by hand with handmade ink and printed by hand in a handmade wooden press on handmade paper. Every step along with way introduced small variations planned by no one. In the world of the finely honed machine, those human-scale textures are erased. A sterile sameness supervenes. The computer is, on the face of it, an ideal device for reviving the old luxury of random variations at the threshold of perception (quite a different thing from chaos). But conventional typesetting software and hardware focuses instead on the unsustainable ideal of absolute control – and has been hamstrung in the past by the idea of a single glyph per character. There have been several recent attempts to introduce a layer of random variation, but all have had to work against the grain of technological development. aestheticsflaws
Waiting to repay the gift of vision Like a forest or a garden or a field, an honest page of letters can absorb – and will repay – all the attention it is given. Much type now, however, is delivered to computer screens. It is a good deal harder to make text truly legible on screen than to render streaming video. Both fine technology and great restraint are required to make the screen as restful to the eyes as ordinary paper. The underlying problem is that the screen mimics the sky instead of the earth. It bombards the eye with light instead of waiting to repay the gift of vision – like the petals of a flower, or the face of a thinking animal, or a well-made typographic page. And we read the screen the way we read the sky: in quick sweeps, guessing at the weather from the changing shapes of clouds, or in magnified small bits, like astronomers studying details. We look to it for clues and revelations more than wisdom. This makes it an attractive place for the open storage of pulverized information – names, dates, or library call numbers, for instance – but not so good a place for thoughtful text. lightgardens
Respect Respect the text first of all, the letterforms second, the type designer third, the foundry fourth. The needs of the text should take precedence over the layout of the font, the integrity of the letterforms over the ego of the designer, the artistic sensibility of the designer over the foundry’s desire for profit, and the founder’s craft over a good deal else. typography
Little by little Check every text you set to see where improvements can be made. Then return to the font and make them. Little by little, you and the instrument – the font, that is – will fuse, and the type you set will start to sing. Remember, though, this process never ends. There is no such thing as the perfect font. repair
An end in itself Typography, like language, is more important to me for what it allows to happen than for anything it accomplishes on its own. I hope that in writing a book on the subject I have not given the impression that either typography or design is an end in itself. typography
Not as a star But I’m warning you, this is my last existence. Not as a swallow, not as a maple, not as a cat-tail and not as a star. Anna Akhmatova deathzen