windows
1º2º3º4º
Frosted and transparent
Irwin's window arrangement at the Dia:Beacon.
In addition to managing the flow of people in the spaces of the museum in order to maximize freedom of movement and choice, Irwin also modified the industrial window grids to create perceptual ambiguity, placing transparent glass in the inner four panes while using frosted glass for the outer panes. With this, Irwin solved the problem of either having the windows become a wall of glaring light, if all transparent glass was used, or having them become a claustrophobic muffling of space, if all frosted glass was used. Irwin's windows catch the eye in a back and forth oscillation between distant and proximal focus.
Of the plainest variety
It is unusual to find such mismatched elements on a single facade as this fine stonework coexisting with these stained and rotting shutters, on a house in the fortified town of Feltre, in the northern Italian province of Belluno.
Where considerable labour lies behind the cutting and fitting of the stone, the timber planks have been left in their raw state, with no paint or carved decoration. Even the iron hinges are of the plainest variety.
180. Window Place
Problem
Everybody loves window seats, bay windows, and big windows with low sills and comfortable chairs drawn up to them.
Solution
In every room where you spend any length of time during the day, make at least one window into a "window place".
We have lost our sense of intimate life
A Quote by Luis BarragánTake the use of enormous plate windows...they deprive our buildings of intimacy, the effect of shadow and atmosphere. Architects all over the world have been mistaken in the proportions which they have assigned to large plate windows or spaces opening to the outside. We have lost our sense of intimate life, and have become forced to live public lives, essentially away from home.
Rediscovering the Small Web
The vast open seas
We didn't have Google in the early days. Other search engines like Lycos, Excite and Northern Lights did exist but were nowhere near as efficient as modern search engines. Finding something you were interested in was not as simple as typing a few words and getting to that information in one click.
No, the web was much more of an adventure. It was a place that you wandered to discover new areas, like exploring the vast open seas. A new virtual space that lead to all kinds of strange, interesting, exciting places. This is what the web was like, at least, in our collective imagination.
The gatekeeper
Google has become the de facto gatekeeper of the web, an arbiter of what is useful and what should get visibility. Except, most websites that appear on the first page, the links that you are most likely to click on—less than 1% of searchers click on something in the second page—are designed to be there by optimising for Google's algorithms. One consequence of this is that most of the websites that people get to "organically" are created by professionals and marketers who "position" themselves on those keywords. This means that the smaller, amateur web gets hidden in the shadows of web professionals who design around specific keywords and audiences.
It can also be art
It is worth remembering a website does not have to be a product; it can also be art. The web is also a creative and cultural space that need not confine itself to the conventions defined by commercial product design and marketing.