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cityofsound: Essay: 'Designing Finnishness', for 'Out Of The Blue: The Essence and Ambition of Finnish Design' (Gestalten)
"Knowing what to do when there is nothing to do
"The press conference is over, and in comes Jari Litmanen, from behind the door. And I looked at his face and I looked at his eyes, and I recognised something in those eyes. And I thought, this is a man with a great willpower. Because he was not shy, not timid, but he was modest. He is not a man who will raise his voice, or bang with his fist on the table and say, ‘We do it this way.’ No, he was more of a diplomat, not wanting to be a leader, but being a leader." [Former AFC Ajax team manager David Endt, on legendary Finnish footballer Jari Litmanen]

Finland has proven that it can take care of itself locally and globally. At home, its sheer existence is a tribute to fortitude, guile and determination, never mind the extent to which it has lately thrived. Globally, through Nokia, Kone, Rovio and others, through its diplomatic and political leadership, and through its design scene in general, it has punched well above its weight. Having been a reluctant leader, like Litmanen, will Finland once again step up to help define a new age, a post-industrial or re-industrial age? Unlike 1917, there are few obvious external drivers to force Finns to define Finnishness. So where will the desire for change come from?

Finland, and Finnishness, is not immune to the problems facing other European countries; the Eurocrisis, domestic xenophobia, industrial strife. Challenging these is difficult for an engineering culture not yet used to working with uncertainty, and in collaboration.

That requires this sense of openness to ambiguity, to non-planning, which is quite unlike the traditional mode of Finnishness. And yet there are also valuable cues in Finnishness, such as in the design—or undesign, as Leonard Koren would have it—of Finnish sauna culture.
"Making nature really means letting nature happen, since nature, the ultimate master of interactive complexity, is organized along principles too inscrutable for us to make from scratch. … Extraordinary baths … are created by natural geologic processes or by composers of sensory stimulation working in an intuitive, poetic, open-minded—undesign—manner." (Koren, ibid.)

Equally, the päiväkoti day-care system demonstrates a learning environment built with an agile structure that can follow where children wish to lead. The role of expertise—and every teacher in Finnish education is a highly-qualified expert—is not to control or enforce a national curriculum, but to react, shape, nurture and inspire. As such it could be a blueprint not only for education generally, but also for developing a culture comfortable with divergent learning, with exploration and experiment, with a broader social and emotional range, and with ambiguity.

Chess grandmaster Savielly Tartakower once said “Tactics is knowing what to do when there is something to do, strategy is knowing what to do when there is nothing to do.” Indeed, Finland's early development was driven by tactics—survival, consolidation and then growth in the face of a clear set of "things to do"; defeat the conditions, resist the neighbours, rebuild after war.

With that, came success, comfort and then perhaps the inevitable lack of drive. The country is relatively well off and stable, and perhaps a little complacent given the recent accolades.

Design in recent years has seen a shift towards the ephemeral and social—interaction design, service design, user experience design, strategic design and so on. Conversely, there has been a return to the physical, albeit altered and transformed by that new modernity, with that possibility of newly hybrid “things”: digital/physical hybrids possessing a familiar materiality yet allied with responsiveness, awareness, and character by virtue of having the internet embedded within. With its strong technical research sector, and expertise in both materials and software, Finland is well-placed. Connect the power of its nascent nanotech research sector—interestingly, derived from its expertise with wood—to a richer Finnish design culture capable of sketching social objects, social services and social spaces and its potential becomes tangible, just as with the 1930s modernism that fused the science and engineering of the day with design in order to produce Artek.

Finnish design could be stretched to encompass these new directions, the aforementioned reversals towards openness, ambiguity, sociality, flexibility and softness. Given that unique DNA of Finnishness — both designed and undesigned, both old and young—Finland is at an interesting juncture.

The next phase, then, is knowing what to do, despite the appearance of not having anything to do.

Buckminster Fuller, a guest at Sitra's first design-led event at Helsinki’s Suomenlinna island fortress in 1968, once said “the best way to predict the future is to design it.” Finland has done this once before; it may be that now is exactly the right time to do it again."
finland  2014  design  danhill  cityofsound  sitra  buckminsterfuller  education  strategy  culture  exploration  experimentation  ambiguity  emergentcurriculumeurope  undesign  leonardkoren  nature  complexity  simplicity  davidendt  jarilitmanen  unproduct  efficiency  inefficiency  clarity  purity  small  slow  sisu  solitude  silence  barnraising  helsinki 
may 2014 by robertogreco
cityofsound: Journal: HyperCard RIP
"I think those of us playing with HyperCard at that point (and using the internet in the background, without really realising we were) where actually beginning to reach out for the web. That "branching path towards all kinds of unrelated and esoteric knowledge"? What else could it be? But how could we know then?

Here's how the 21-year old me put it in 1991, in my final year BSc Computer Science dissertation (full excerpt below):
"So the underlying metaphor is of a huge chunk of cross-referenced, multi-media information which can be viewed from a number of angles which could be pre-defined or created depending on the eventual sophistication of the software."

Akin to Vannevar Bush's 'trails' notion, which I hadn't encountered then (never mind Nelson, Berners-Lee and beyond), I was driving at something which I could only conceive would sit on CD-ROM (hey, they were big then, OK? Besides, few personal computers were usefully networked.)

In other words, some kind of informational object which people could pursue their own routes through, depending on their preference, with multiple entry points—instead of Phil's tea, I had Death Of A Salesman, or McCarthyism, or hemlines, or trumpets. CD-ROMs seemed to promise such limitless space that we didn't even think about scalability. And we weren't quite ready for the infinitely 'dispersed editorial' and mass amateurisation of everything we find online now. It was perfectly conceivable, to most of us, that knowledge would be produced and structured just as it had been thought to for years i.e. by a single well-informed author, or commissioned team of same. There were technical barriers too, despite its innovative architecture.

Essentially, HyperCard wasn't structured to enable us to make the conceptual leap to conceiving of this informational object to be networked and open, with increasingly low barriers to entry as per the web. But it certainly began to lead those of a certain persuasion in that direction. We owe it a lot."
danhill  cityofsound  hypercard  internet  web  2004 
april 2014 by robertogreco
cityofsound: Sketchbook: Announcing Sandbox, a collaboration between BERG and Fabrica
"It's an extensive pallette of materials to which we're adding both wireless and data, and with which we can really test what it's like to work with these new materials in real spaces. We also have around 60 people, of all kinds and doing real projects, and so we can begin to explore what it's like to really live, work and play amidst and betwixt connected and disconnected objects and spaces. This will change the way we communicate with each other, and our environment, and it's Fabrica's job to be on top of that."
2013  berg  fabrica  danhill  cityofsound  sandbox  wireless  internetofthings  smartcities  bergcloud  projectideas  iot 
october 2013 by robertogreco
cityofsound: Sketchbook: Fabrica 2013 Informal Annual Review: Fabricanti Handbook
"Notes on the Fabricanti Handbook project

When new researchers arrive at Fabrica, there's a lot to take in. They arrive from all over the world for a start. For many it's their first time in Italy. There are language questions, cultural questions. We are also based in the country, outside Treviso, so without the distractions of a big city but equally without its inherent support networks. They also have to quickly get their head around a unique organisation, with a particular mission, in a very special space.

There is a lot of tacit information which sometimes takes a while to uncover and understand before they feel like "Fabricanti", the word we use for Fabrica's researchers.

Interested in enabling Fabricanti to hit the ground running, we've made the first Fabricanti Handbook in Fabrica's history - it describes how to live here, how to work here, how to play here. We asked two of our Fabricanti to lead the project: Anna Kulachek from Ukraine and Samantha Ziino from Australia, both graphic designers. (This was also an experiment in self-directed projects by Fabricanti.) They conducted interviews with their fellow Fabricanti, and decided all the content themselves, from text to photography to illustration. It draws on stories from Fabricanti alumni, sharing their knowledge of local tricks and quirks, and most importantly, how to get your personal projects done. We were inspired by the Valve employee handbook, by Tom Sach's "10 Bullets!" videos, Ove Arup's key speech and more, but this is a bespoke tool for Fabricanti only.

It describes place, people, processes and projects - and all the basics in terms of living locally, from ordering pasta and visiting the Biennale to why a fur coat and a little dog makes you a Treviso resident - but does so in a way that is playful, enriching and inspirational. It is full of in-jokes and secrets - though, importantly, we felt it should not have everything in it. Not everything should be so easy to find. Knowing the web is full of iconic shots of the architecture bereft of people—as architectural photographs tend to be—Anna and Sam commissioned Fabrica's photographers to take shots of the building as it is, with people in it. Knowing the institution could get a bit hierarchical, they contrasted the official view with a Fabricanti view, using different sizes of paper (there might be an idea of an official daily schedule, but the day is really only "before lunch" and "after lunch"; there is the official floor-plan, and then the way it actually works, and so on).

It should feel like a beautiful gift for your first day at Fabrica, an invaluable guide throughout the year, and a souvenir of your time there when you leave. The cover is a delicate all white on purpose, such that the scuffs, bruises and scribbles tell their own story at the end of the year. (There is a "FabricApp" developing alongside the book, starting with a Google Map version of the maps in the book, and developing into real-time installations around the Fabrica campus, as part of Fabrica's Sandbox project with BERG.) Different paper stock defines the different sections.

So this book is by Fabricanti for Fabricanti. But it also describes Fabrica. In making the book, we had to commit to print a few key ideas, notions, patterns about Fabrica, which hadn't happened much. So as Fabrica enters a new phase of its history, the Fabricanti Handbook is an excuse to form a few ideas about what it is. It is a functional document— how do you not just survive Fabrica, but thrive?—but also an inspirational one, a sketch of what Fabrica is now.

As Fabrica is an evolving project (and as bus routes change and bars open and close) it will be redesigned each year, by new Fabricanti; but with this version 1.0, Anna, Sam and their friends have made a huge contribution to Fabrica's present and future.

Insights

• Make something tangible as an excuse to force us to write something down
• Use a new project to try out different non-hierarchical organisation
• Use a Handbook project to bring organisations together
• Focus on the researchers' environment
• A side-effect of making a great Handbook is that you get great promotional material"
fabrica  print  books  2013  danhill  treviso  italy  projectideas  tangibility  commitment  valve  tomsachs  handbooks  howto  annakulachek  samanthaziino  storytelling  openstudioproject  cityofsound 
october 2013 by robertogreco
cityofsound: Sketchbook: Fabrica 2013 Informal Annual Review: from departments to studios
The studio model I had in mind was drawn from long experience—the multidisciplinary teams I had created, or tried to create, at the BBC and Arup—and recent experience, in Helsinki, with the Strategic Design Unit model pursued with my ertswhile colleages, Bryan Boyer, Justin Cook and Marco Steinberg, and documented well here. And of course, the studio as the forum for design practice generally.

I had also drawn a lot from Alex Coles' useful book The Transdisciplinary Studio—not necessarily in any direct sense (I haven't implemented any details of the various studio practices described therein: Jorge Pardo Sculpture, Konstantin Grcic Industrial Design, Studio Olafur Eliasson & Åbäke) but more in terms of concept, of not simply mixing disciplines, but going beyond them. Given the sense that Fabrica could be a new kind of factory, helping invent and construct the future ("Fabrica" is drawn from faber, to make, and also suggests the Italian word for factory, fabbrica), I was particularly interested in the hybrid products that much emerge from the synthesis of disciplines into something new. As Piaget has it, going beyond the displines.
"Transdisciplinary: between the disciplines, across the different disciplines, and beyond each individual discipline." [Jean Piaget, referenced in Coles]

Fabrica was essentially organised into discipline-based departments—film, music, product design, graphic design and so on. Although some areas, like Design, or Interactive, had the beginnings of a multidisciplinary mix, the structure was something I wanted to address. (I suggested this in something I wrote called "The New Vision", which was an internal discussion document/book—more soon—to gauge peoples' opinions.)

Fabrica, in terms of the structure of its "engine" was not a million miles from many other studios and schools. elsewhere.

Given the rest of our world—institutional or otherwise—is largely organised into such disciplinary structures, which organisations turn into silos (disciplines need not be silos; it's organisations that do that) then what would be the point of Fabrica doing that too?

Following my colleague Marco Steinberg's thought that "we have 18th century institutions facing 21st century problems", can we create a 21st century organisation? Something that faces the 21st century, in all its hybridity and complexity, on its own terms? Something that might address 21st century issues with a more appropriate, flexible and complex creative toolkit?

If we look at a city council organisational structure, you see that it is largely in a 19th century mode, and so ill-equipped to deal with a complex, interdependent challenge like climate change? All of the following departments—and more—are implicated in solving the problem. In my experience, even getting a meeting to discuss a citizen-centred project like Brickstarter can be an issue with this form of organisation.

If you look at the departments and divisions of Oxford University, say, can we really say it has moved far from the organisation of the medieval university?

So why, for instance, should Fabrica have a music department? There are a million places to go and study or practice music. Probably many better. Juillard, for instance. Yet there are few places that sit a musician or sound designer next to a coder, next to a filmmaker, next to an industrial designer. (The same applies to other departments, obviously.)

Given our size, agility, mission and the fact that we are not interested in formal academic certification (that is another "trap" that reinforces silos) this environment is something that Fabrica can uniquely forge. This is the possibilty behind the idea of Fabrica.

Ten months in we have moved to a new studio-based model of organisation, addressing thematic areas via a transdisciplinary mode.

• Each studio has a mix of disciplines; for example, code, graphic design, film making, writing, industrial design, sound, art, and so on.
• Each studio has a range of projects addressing the theme, from big to small, slow to quick, client-led to self-directed.
• Each is led by a studio lead, or leads.
• Each has a dedicated studio space at Fabrica.
• These are the studios we have now (overlapping to indicate the possibility of fluid movement between them, and shared projects.) …

[Read on.]
[Rest saved here too: https://pinboard.in/u:robertogreco/b:7b2f1be990dc ]
transdisciplinary  interdisciplinary  studioclassroom  danhill  fabrica  cityofsound  2013  organization  disciplines  crossdisciplinary  openstudioproject  tcsnmy  schooldesign  education  projectbasedlearning  innovation  creativity  thematiclearning  fluidity  projectorientedorganizations  pbl 
october 2013 by robertogreco
cityofsound: Sketchbook: Fabrica 2013 Informal Annual Review: Exhibitions
"So Sam's team devised some modular furniture elements, a modular graphic system, and a modular web service, each of which related to the other but could be taken apart by incoming teams subsequently. Then, working with local students, a series of furniture elements emerged—benches, shelves, chairs, crates and so on—with customised graphic identities alongside.

This of course ticks several boxes for me, such as modular, adaptive components, collaborative design processes, open platforms and so on. But better was to see the buzz of activity when I visited on the closing Saturday and Sunday, with highly imaginative adaptations created in collaboration."



"What's Sam's studio does very well is use exhibitions to drive the rhythm of the studio. By giving themselves these immovable deadline of showing in public, they get stuff done. It's hard work, but productive, and the researchers really appreciate that. As do I.

We're increasingly using exhibitions to get Fabrica out and about, and watch out for more on that front, big and small. For instance, we're currently working hard on a very big, very top secret, quite design fiction-esque exhibition, for next February. More when I have it, but that is also using an exhibition to develop particular new skills and new perspectives inside Fabrica, through partnering with great design firms, and homing in on new thematic areas.

Another post along shortly.

Insights
Use exhibitions to turn Fabrica inside-out.
Use exhibitions to drive the rhythm of the studio.
Use exhibitions to acquire new skills, new perspectives."
exhibitions  2013  danhill  cityofsound  fabrica  sambaron  modular  modularity  adaptability  collaboration  design  openplatforms  open  studioclassroom  studios  tcsnmy  presentationsoflearning  rhythm  howwework  deadlines  productivity  openstudioproject  lcproject  learning  howwelearn  public  workinginpublic  projectorientedorganizations 
october 2013 by robertogreco
cityofsound: Journal: Notes on "Ambient Commons", by Malcolm McCullough
"As explained in Lisa Reichelt’s Twitter-friendly coinage of “ambient intimacy,” social media use countless trivial messages to build a detailed portrait, even an imagined presence, of a friend. At least to some degree, this restores a lost kind of awareness found in traditional life. The upstairs shutters are opened, the bicycle is gone from its usual spot at the usual time, deliveries are being made, and the neighbors are gossiping. To their enthusiasts, social media re-create some of this environmental sense, albeit across the necessary distances and at the accelerated paces of the metropolis."



"The world has been filling with many new kinds of ambient interfaces. Nothing may be designed on the assumption that it will be noticed. Many more things must be designed and used with the ambient in mind. Under these circumstances, you might want to rethink attention."



"Embodiment makes the difference. Walking provides more embodiment, more opportunity for effortless fascination, and better engagement than looking or sitting. Depending on the balance of fascinating and annoying stimuli, a walk around town may well do some good. That balance is now in play, under the rise of the ambient."



""Does having more ambient information make you notice the world more, or less? Can mediation help you tune in to where you are? Or does it just lower the resolution of life?"

"(T)he Internet shakes the university to its core; presumably, the two are now breeding a new heir."

(((The first statement is true. The second? Not without a little help, at least not with purpose and foresight. And no, it's not massive open online courses (MOOCs). MOOCs are the mp3 of education - they radically disrupt the distribution of information, but that's only one slice of the wider pie. mp3s have not radically changed music; largely only distribution. Likewise, MOOCs are the low-hanging fruit of learning: the easiest bit to translate and transmit, and the lowest value component. It is learning at its simplest, its most mundane. This is still useful as it frees up education - say, the university - to spend its time and resources doing something higher value instead - focusing on moments of intense, engaged collaboration, together in physical space. The rest can be displaced: with a hand; it is no great loss. No more than compact discs, and their absurdly-named "jewel boxes". Anyway.)))"

"The role of architecture seems central to future inquiries into attention. The cognitive role of architecture is to serve as banks for the rivers of data and communications, to create sites, objects, and physical resource interfaces for those electronic flows to be about. At the same time, architecture provides habitual and specialized contexts by which to make sense of activities. And, where possible, architecture furnishes rich, persistent, attention-restoring detail in which to take occasional refuge from the rivers of data."
(((Very good. Again, you won't see architects getting this pointed out at architecture school much currently - with a few honourable exceptions - but there's a good role for architecture in future (alongside many other things of course.))))
danhill  ambient  ambientintimacy  architecture  design  information  technology  2013  cityofsound  lisareichelt  malcolmmccullough  experience  embodiment  urban  urbanism  softcity  visibility  communication  sensing  attention  cognition  softcities  ubicomp  internetofthings  iot 
july 2013 by robertogreco
cityofsound: Sketchbook: State Library of Queensland, Brisbane, Donovan Hill / Peddle Thorpe, plus some notes on libraries in general
"The model also indicates what a sharply intelligent piece of work Donovan Hill’s intervention is, managing to keep the essence of the Gibson library’s mass, low terraced form, orientation and a good deal of the exterior finish, thus retaining its civic grandeur and connection to its family of buildings, but also radically reworking most of it, creating a new diversity of spaces - intimate, approachable and exciting."
via:tealtan  libraries  2008  danhill  cityofsound  queensland  library2.0 
june 2013 by robertogreco
Venture Ethnography 1: a bi(bli)ography « Justin Pickard
"Project Cascadia is the test-case for a cluster of ideas I’ve been playing with for the best part of five years. A chance to break out my signature obsessions …

Hauntings, world expos, gonzo journalism, science fiction, systems, geopolitics, utopianism, virtuality, globalisation, the sublime, resilience, collapsonomics, aesthetics, architecture, environmentalism, infrastructure, design, futures studies, sovereignty, atemporality, risk, the nation-state, the uncanny, Americana, technoscience, cyberpunk, multispecies ethnography, fiction, capitalism, the human senses, counterfactual history, media and cyborgs (and media cyborgs)

… and nail them to the mast of a weird and interstitial sort of boat; a soupy, hybrid writing practice that would combine the best of ethnography, journalism and science fiction.

In lieu of a biography, then, I’m offering a bibliography. Five years of my brain, in books, articles, essays, and blog posts…"
urbanism  jgballard  richardbarbrook  marcaugé  warrenellis  jenniferegan  bradleygarrett  donnaharaway  naomiklein  brunolatour  ursulaleguin  ianmacdonald  suketumehta  chinamieville  jimrossignol  michaeltaussig  huntersthompson  adamgreenfield  brucesterling  thomaspynchon  bldgblog  geoffmanaugh  cityofsound  danhill  davidgraeber  matthewgandy  williamgibson  corydoctorow  douglascoupland  michaelchabon  jamaiscascio  laurenbeukes  journalism  mediacyborgs  cyborgs  geopolitics  aesthetics  utopianism  risk  atemporality  sovereignty  sciencefiction  cyberpunk  technoscience  ethnography  capitalism  globalization  collapsonomics  resilience  writing  projectcascadia  bibliographies  2011  justinpickard  bibliography  from delicious
november 2012 by robertogreco

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