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Designing Horizons

Funny thing about Green buildings – we need them! That’s decidedly unfunny BUT… timing is very important as far as the technology available and what seems most durable when architectural engineers choose how to power the building. Especially if it’s innovative and edgy:

Some of the building’s most important green features were the right answer to the climate problem in 2016, when design work was completed. “And then the answer changed,” Mr. Wilcox said.

Unlike many skyscrapers, One Vanderbilt generates much of its own electricity. This was a leap forward a decade or so ago — a way of producing power that saved money for landlords and was cleaner than the local grid.

However, One Vanderbilt’s turbines burn natural gas. And while natural gas is cleaner than oil or coal, it is falling from favor, particularly in New York City, which in recent years has adopted some of the most ambitious climate laws in the world, including a ban on fossil fuels in new buildings.

As that transition happened, SL Green was caught in the middle. Although One Vanderbilt went up relatively quickly, topping out after three years, its owner had to watch as the city’s environmental strategy raced forward.

The building is one of those skinny, ribbon skyscrapers in Manhattan. And they had the right idea. Kind of. It was right at the time, which seems like, well, ouch.

It is akin to many familiar things, like choosing a vocation that will interest you for decades and hopefully longer. It can be tricky, based on what you think is out there. If you choose a life of exploration – artistic, scientific, whatever – you throw the rock (the thing you’re chasing) as far as you can. Hopefully the journey to finding/achieving takes a long time, years, enough time for you to develop as a finder of such things.

Building is slightly different, as it is so permanent. So… go with ancient designs or new bells and whistles? It’s a gamble, much like choosing a vocation, if you are so fortunate. Choose wisely.

Image: an ancient design, Le Pont du Gard

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Modes for toads

Nice DE-veining of ‘design thinking’ in the CHE:

Despite his enthusiasm, Miller struggles to define design thinking. “It’s an approach to problem-solving based on a few easy-to-grasp principles that sound obvious: ‘Show Don’t Tell,’ ‘Focus on Human Values,’ ‘Craft Clarity,’ ‘Embrace Experimentation,’ ‘Mindful of Process,’ ‘Bias Toward Action,’ and ‘Radical Collaboration.’” He explains further that these seven points can be reduced to what are known as the five “modes”: “Empathize,” “Define,” “Ideate,” “Prototype,” and “Test.” He seems particularly impressed with “Empathize”: “Human-centered design redescribes the classical aim of education as the care and tending of the soul.”
Beautiful. Compelling. But what does it mean? According to the d.school’s An Introduction to Design Thinking PROCESS GUIDE, “The Empathize Mode is the work you do to understand people, within the context of your design challenge.” We can dress things up with language about the “soul,” but this is Business 101: Listen to your client and find out what he or she wants.

Miller calls the Empathize Mode “ethnography,” which is uncharitable  to cultural anthropologists who spend their entire lives learning how to observe other people. Few anthropologists would sign on to the idea that amateurs at a d.school boot camp strolling around Stanford and gawking at strangers constitutes “ethnography.” The Empathize Mode of design thinking is roughly as ethnographic as a marketing focus group or a crew of consultants trying to suss out their clients’ desires.

Design thinking, in other words, is just a fancy way of talking about consulting. What Miller, Kelly, and Hennessy are asking us to imagine is that design consulting is a model for retooling all of education. They believe that we should use design thinking to reform education by treating students as clients. And they assert that design thinking should be a central part of what students learn, a lens through which graduates come to approach social reality. In other words, we should view all of society as if we are in the design-consulting business.

Okay maybe not so nice. But still, the designification of arts and any other kind of education is a wagon train that should stopped, frisked, emptied of its contents, its wheels broken and used for firewood and little shacks built from the wagon bodies to shield the shysters pioneers from the winter cold because THAT’s empathy and we’re not barbarians. The business-minded think everywhere they look is a frontier – that’s where all this consulting jargon comes from – when most of it is just the old world, with a deep culture you can share and learn something from, and even use for helpful, positive purposes that, yes, might even earn you a living. But no. Instead, it’s space travel. Deep tunnels. The hyperloop. Self-driving cars. Personal pods, juicer-toasters or whatever. And now some of the design thinkers want to change higher ed so their ‘IDEAS, man!’ make more sense. Just stop.

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On Cezanne

Rainer Maria Rilke spent much of 1907, from June to November, in Paris following the traces of one of the formative influences on his poetry, Paul Cezanne, who had died the previous October. In correspondence with his wife Clara Westhoff, Rilke wrote about many of the elements to making things; in these careful but free flowing love letters by any other name, he allows us a particular view toward the ramparts of the possible, the desperate, the beautiful and the audible truths that rise from great artists and art work. From Rilke’s  Letters on Cezanne, translated from the German by Joel Agee.

Monday, June 24

… This morning your long letter, with all your thoughts… After all works of art are always the result of one’s having been in danger, of having gone through an experience all the way to the end, to where no one can go any further. The further one goes, the more private, the more personal, the more singular an experience becomes, and the thing one is making is, finally, the necessary, irrepressible, and as nearly as possible, definitive utterance of this singularity… Therein lies the enormous aide the work of art brings to the life of the one who must make it, —; that it is his epitome; the knot in the rosary at which his life says a prayer, the ever-returning proof to himself of his unity and genuine-ness, which presents only to him while appearing anonymous to the outside, nameless as mere necessity, as reality, existence -.

So surely we have no choice but to test and to try ourselves against the utmost, but probably we are also constrained to keep silence regarding it, to avoid sharing it, parting with it in communication before it has entered the work of art: for the utmost represents nothing other than that singularity in us which must enter into the work as such, as our personal madness, so to speak, in order to find its justification in the work and show the law in it, like an inborn design that is invisible until it emerges in the transparency of the artistic. – Nevertheless there are two liberties of communication, and these seem to me to be the utmost possible ones: the one that occurs face-to-face with the accomplished thing, and the one that takes place within daily life, in showing one another what one has become through one’s work and thereby supporting and helping and (in the humble sense of the word) admiring one another. But in either case one must show results, and it is not lack of trust or withdrawal or rejection if one doesn’t present to another the tools of one’s progress, which have so much about them that is confusing and tortuous, and whose only value lies in the personal use one makes of them. I often think to myself what madness it would have been for van Gogh, and how destructive, if he had been forced to share the singularity of his vision with someone, to have someone join him in looking at his motifs before he had made his pictures out of them, these existences that justify him with all their being, that vouch for him, invoke his reality. He did seem to feel sometimes that he needed to do this in letters (although there, too, he’s usually talking of finished work), but no sooner did Gauguin, the comrade he’d longed for, the kindred spirit, arrive than he had o cut off his ear in despair, after they had both determined to hate one another and at the first opportunity get rid of each other for good. (But that’s just one side of it: feeling this from artist to artist. Another side is the woman and her part in it.) And a third (but only conceivable as a test for the upper grades) is the complication of the woman being an artist. Ah, that is an altogether new question, and ideas start nibbling at you from all sides as soon as you take just a few steps in their direction. I won’t say any more about this today.-