mammoth // building nothing out of something

golden gate estates


[An abandoned portion of the “Golden Gate Estates” — a massive land scam promoted by a Florida developer in the 1960’s — whose miles of canals and roads would have been the infrastructure for the largest subdivision in the United States if the land hadn’t been utterly unsuitable to development. The problem, of course, is that the majority of the development’s 57,000 acres are part of a hydric forest, known as the Big Cypress Basin, and are frequently submerged by floods. (The development was subsequently bought by the government and became a portion of Picayune Strand State Forest.)

Despite their vast scale, the Golden Gate Estates are just one small chapter in the exceptionally strange (and quintessentially American) story of the development of the Everglades and southern Florida. A recent entry at the Boston Globe’s excellent Big Picture photoblog, “Human Landscapes in Southwest Florida”, which is the source for this image, explores the satellite evidence of decades of “boom and bust” residential “development in southwest Florida”.  That entry, filled with mazily-patterned suburban streets and crisply-ordered abandonia, coincides rather neatly with Geoff Manaugh’s excellent but brief piece at the New York Times Opinionator blog, on the similarly geometrical aerial photography of Christopher Gillen.]

magnasanti


[Screenshot from “Magnasanti”]

Vincent Ocasla’s “Magnasanti” is a SimCity with six million inhabitants, which Ocasla argues represents the maximum possible stable population achievable within the game.  A winning solution, he says, to a game without any programmed conditions for winning.  Ocasla, a Filipino architecture student, spent four years constructing the SimCity — building the SimCity itself, but also studying the game systems, wading through equations, and working out optimal spatial solutions on graph paper.  I was reminded of Magnasanti by Super Colossal‘s post on it today, which you should read:

This is the kind of archiporn that I am a sucker for; gamespace urbanism exploited to its extreme condition. Can you ‘win’ urbanism? Is this even urbanism? If not, can we take anything from its construction? The primary move that the city makes is to remove cars altogether and base transport purely on subways. I suspect this is a method to exploit the space otherwise taken up by roads for real estate allowing for an increased population per tile, however, it is a strategy that many cities—Sydney included—are seriously looking into. Remove motor vehicles, increase public transport. Seems like a sound idea. But ultimately, Magnasanti has little to do with urban design and everything to do with gaming systems for maximum reward.

This, of course, is exactly right — the construction strategy for Magnasanti tells us very little about how to construct a city, but a great deal about how to manipulate the internal logic of SimCity (and that is instructive as to the distance between the logic of the city and the logic of SimCity, which results from SimCity being the embodiment of a particular set of assumptions about how cities are planned).  Having been reminded, though, I should also link to this interview with Ocasla at Vice.  Fascinatingly, Ocasla argues that he constructed Magnasanti as a critique of urban conditions, inspired by Godfrey Reggio’s Koyaanisqatsi.  Magnasanti, he says, is not a blueprint for how to build a city.  It’s an intentionally hellish vision which exploits the game’s internal logic as commentary:

There are a lot of other problems in the city hidden under the illusion of order and greatness: Suffocating air pollution, high unemployment, no fire stations, schools, or hospitals, a regimented lifestyle – this is the price that these sims pay for living in the city with the highest population. It’s a sick and twisted goal to strive towards. The ironic thing about it is the sims in Magnasanti tolerate it. They don’t rebel, or cause revolutions and social chaos. No one considers challenging the system by physical means since a hyper-efficient police state keeps them in line. They have all been successfully dumbed down, sickened with poor health, enslaved and mind-controlled just enough to keep this system going for thousands of years. 50,000 years to be exact. They are all imprisoned in space and time.

Given mammoth‘s professed interest in finding overlap between gameworlds and cities, it’s probably not surprising that this leads me to wonder: what other games might be used to produce critiques of cities, or buildings, or landscapes?  I’m particularly interested in this question because of a minor pet theory, which is that one of the most important futures for video games — if they are to become as important a venue for cultural expression as they have the potential to be — is less about the design of spectacularly complex linear (or even branching) narratives for video games, and more about the sharing, re-telling, discussion, and celebration of emergent narratives and objects created by players.  Pro Vericelli or Oil Furnace, in other words, not Mass Effect.

A little while ago I spat out a series of tweets for “#idiosyncraticallyarchitecturalvideogames”, some of which (Love, Detonate, Mirror’s Edge) would seem to be excellent fodder for this sort of thing.  If, for instance, as Geoff Manaugh has argued, “the bank heist and the prison break together might form the architectural scenario par excellance“, then surely a game like Subversion — “a Mission Impossible-style spy thriller” set within an infinite array of procedurally-generated cities, neighborhoods, buildings, and bank vaults — could be played with the intent of exploring such scenarios (and, if the player is particularly clever, played with the intent of expressing a certain set architectural ideas).  What happens, basically, when architects play video games as architects?

[Thanks to Tim Maly for the tip on Subversion.]

“it just makes things different”


[Flushing Airport, one of New York City’s “places humans let be”, via Google Maps]

Robert Sullivan’s recent article on the renaissance of urban ecology in New York City, The Concrete Jungle, is so outstanding that I’ve been sitting on it for two weeks, paralyzed by the plethora of great quotes I could pull from it.  In the end, I’ve narrowed down to three quotes, each of which emphasizes a different way in which our understandings of the composition, importance, and functions of urban natures are changing:

1. On the diversity of urban forests “Recently, however, scientists have come to suspect that urban forests have thrived not despite their urban environment but because of it. “The old idea was that urban areas are not ecologically interesting or don’t have ecological processes, and that’s false,” says Richard Pouyat, who studies urban forests for the U.S. Forest Service. “The difference is, it’s been altered.” And altering the natural landscape isn’t always a bad thing.

Take fires. Alley Pond experienced many car fires over the years, and this is now understood to have played an important role in the forest’s ecological health. In some parts of Alley Pond Park, as well as in forests in the Bronx and Staten Island, open forest canopies encouraged sensitive species like upland sandpipers or a threatened suite of plants like purple and green milkweeds. In a 1996 article in Restoration & Management Notes, Marc Matsil and Mike Feller, an early NRG naturalist, called arsonists “New York City’s incidental restorationists.”

Urban forests are healthier than their suburban peers in other ways, too. The flora scene is more diverse. Much of the soil found in places like Alley Pond Park is pristine compared to suburban areas. Perhaps more interesting, from the point of view of the larger urban ecosystem, our forests have evolved to become more productive. According to a study comparing oak-tree stands in rural Connecticut with ones in New York City, city forests carry more of the metals associated with air pollution into the soil.”

2. On the tension between process and aesthetics in ecological restoration “Understanding nature as infrastructure means thinking about it less as a painting to restore and more as a process to encourage. River-cleanup parties, those classic old-school conservation outings, may help in attracting humans to a restoration site, but they don’t necessarily do much for nature. “It’s fine if they realize that they are doing it for people and not for wildlife,” says Pehek, the NRG ecologist. “[But] roof material and plywood, for instance, is great for snakes.””

3. On future forests “In the city’s forests, Parks employees might take a more laissez-faire approach to invasive species. Some are targeted for removal, including the Norway maple, once the darling of Parks tree-planters throughout the East Coast but now known to release chemicals that discourage undergrowth. But mostly, urban foresters are comfortable with the idea that the species makeup of nature will change based on external events and that tomorrow’s forests won’t be the same as yesterday’s. They talk about encouraging the trajectory of the forest. The imminent arrival of the Emerald ash borer, an exotic beetle, may mean the destruction of thousands of ash trees in the next few years, but it also will bring about the beginning of something else.

This is a culture shift, and it has already happened in Europe, where biologists tracked plant and forest succession at bombed-out sites after the war. There, what Americans consider invasive species are tolerated as plants that thrive in the warmer, more acidic ecology of the city. “They just consider it nature, and this whole question of ‘natural or not natural’ is just a moot point,” says Peter Del Tredici, a senior scientist at the Harvard arboretum who teaches urban ecology at the Graduate School of Design.”

Read the full article for much more — from crypto-forestry and the previously mentioned future forests, to how Robert Moses became an accidental inspiration for urban restoration ecology, why urban ecologists are shifting from the documentation of remnant and accidental ecosystems to the active curation of new urban ecologies, or why it is important to think of urban nature and rural nature as components of a single system, intricately linked by webs of feedback loops.

wearable homes


[“Mono Lake”, 2008, from Mary Mattingly’s “Nomadographies”]

If you suppose that there is a spectrum of ways that we adapt ourselves to our environment, then “architecture” might be at one end, and “cyborg” (whether psychotropic or technological) could be at the other.  In between, there would be “clothing”.  And if you really want to confuse the three and scramble your simplistic understanding of that spectrum, you talk about wearable architecture.

So I couldn’t let Cyborg Month pass without mentioning Mary Mattingly’s absolutely fantastic “Wearable Homes”.  I got in touch with Tim Maly and we ended up co-writing a post for Quiet Babylon, “Wearable Ethics”:

…“Wearable Homes” is a project – part architecture, part photography, part design fiction, part clothing (fashion is not quite the right word here) – which sits at that confused junction between cyborgs and architecture.

Anyways, the post is (thanks to Tim) about a good bit more than just Wearable Homes, so read it.  And if you want more Wearable Homes, you might enjoy this old Pruned post, and Mattingly’s website.

fake cyborgs

Readers who are both familiar with mammoth and the 50 cyborgs project are likely expecting a post arguing that cities are, in fact, cyborgs. It’s true. They are. And I’ll be happy to argue the point in the comments should anyone wish. But at the risk of straying too far from typical mammoth topics, I thought I would leave the strictly architectural behind for a bit, and write about fake cyborgs instead.

If you’re already human, it’s really easy to become a cyborg. (If you’re a machine trying to become a cyborg, it’s a good bit more difficult – but we’ll get there later). Actually, I think that cyborg month has made a compelling case that it’s difficult to not be a cyborg. Problem is, none of us look terribly like cyborgs – like what we want cyborgs to look like.

This paradox has lead to cyborgs trying to look more like cyborgs by faking it.


[via]

Steampunk expresses a desire for technological integration which is different from the norm. More than just fashion, it is a methodology. Bruce Sterling, in a speech about atemporality and the creative artist, offered a hearty defense of appropriating fashion to advocate for your preferred future:

Why not designer fiction as life? Why not role-playing games in real spaces? Why not become the change you want to see?

If, for instance, you think the future should offer ‘personal space flight’ – perhaps you are an enthusiast for that? – why don’t you just dress up as an astronaut? Just invent the whole thing, just go out and carry it onto the streets! Just invent the Jeff Bezos Blue Origin spacecraft, make your own spacecraft suitcases, spacecraft astronaut gear.

Yes, you will look ridiculous. But by what standard? By what standard can you be held to be ridiculous? Why not just go and make yourself a personal public testimony for a future that doesn’t exist? Why not just carry it out with a kind of Gandhian dedication, and see what happens?

If you want a society more frank about its integral reliance on technology, steampunk outfits are a far more affecting means to argue for your technophilic future than, say, a fake bluetooth headset. I wonder, for what sort of minimalist tech future are these folks advocating?

Cyborgs go to far weirder length to fake cyborgism than the merely exuberant steampunk fashion, though.  Take, for example,

Kevin Warwick, who made himself famous by implanting a computer chip in his arm, declaring himself an expert in “cybernetics” and figuring out ways to get way too much press for nothing special. The Register, amusingly, dubbed him “Captain Cyborg” and regularly mocked his various exploits. We haven’t heard much about Warwick in a while, but when I saw a bunch of folks chatting about a BBC article concerning the “first human infected with computer virus,” I was immediately reminded of Warwick. Reading through the article, it was no surprise to find out that this “experiment” is actually being conducted by a colleague of Warwick’s, Mark Gasson — who according to Warwick’s own bio lead the research group that Warwick works in.

The story is — as with all captain cyborg stories — a lot less than the headline suggests. Gasson wasn’t “infected with a computer virus.” He took a chip that had a computer virus and stuck it in his arm, just like Warwick has done in the past. The parallels to an actual virus are minimal, and the usefulness for anything is even less than that.

Again – Warwick was, almost certainly, already a cyborg before he stuck a functionless, totally non-cyborg-making computer chip into his arm. But he didn’t get the splash he wanted until he started faking it.

It’s easy to see why the above are examples of faking cyborgism – their additive technology is pastiche, done purely for theater. They have adapted themselves to no environment, enabled no function or performance. But there are other types of fake cyborgs, too.

At the Georgia Institute of Technology, researchers are working on robots which specialize in deception. They are machines, but machines which must be human enough in certain characteristics that they are able to fool other humans.

A robot deceives an enemy soldier by creating a false trail and hiding so that it will not be caught. While this sounds like a scene from one of the Terminator movies, it’s actually the scenario of an experiment conducted by researchers at the Georgia Institute of Technology as part of what is believed to be the first detailed examination of robot deception.

“We have developed algorithms that allow a robot to determine whether it should deceive a human or other intelligent machine and we have designed techniques that help the robot select the best deceptive strategy to reduce its chance of being discovered,” said Ronald Arkin, a Regents professor in the Georgia Tech School of Interactive Computing.

That machine has human and mechanical adaptations, but we wouldn’t call it a cyborg – why? Is it just because it doesn’t have flesh? I believe it goes deeper. Cyborgs start as one thing or another, and become mixed – but it is much easier to go from human to cyborg, than machine to cyborg. Luckily for both of us, Jonah Campbell has already done a fantastic job of elucidating this fact via a dissection of the Terminator‘s cyborg status:

What this gets at, the sort of inadequacy of the flesh+metal equation, is the unspoken role of agency in the ontology of the cyborg. Perhaps agency is too strong a word, but there is the sense that – more than just mildly animate matter – there should be some sort of being, perhaps a living being involved in the cyborg equation. It is not enough for there to be a cobbling-together of animal and machine parts, there needs to be some sort of animus, and why?

Because it’s not interesting otherwise.

Now I’m not necessarily saying that it needs to be a human. I’m open to aliens and cats and whatever being cyborgs, but even that openness betrays a certain prejudice which I will defend for conceptual – if not personal – reasons. That is a prejudice in favour the living, or at the very least, an insistence on the specificity of the biological in its relationship to the cyborg.

Forgive the cliche, but you really need to go read the whole thing, including the comments – they basically wrote the rest of this post for me (they even brought up my two favorite examples of attempted fictional machine-to-man transition: Data from Star Trek and Bicentennial Man). Campbell goes on to wonder: “The biggest question on the mind of every cyborg and every person who is afraid of cyborgs is “how many augmentations before they’re no longer human?” How does that happen? How does one cease to be human?” What I would add to that (and what gets discussed in the comments to the post) is that this also shows the dificulty of a machine becoming a cyborg – how much human needs to be added until robot becomes cyborg? We have little trouble accepting something which starts as fully human, and then is augmented by or phased into the technological. But what of the inverse? If, as Tim argues in the kickoff post, the key to becoming a cyborg is appropriating non-hereditary adaptation, how does this apply to something which has no hereditary adaptation in the first place?

The steampunk has already become a cyborg, and is faking it because it isn’t what they expected. The machine is faking it because it can never be cyborg in the same way that a human can – it can never be an augmented human.

That’s why my favorite fake cyborg is the Voyager Probe. It’s clearly a machine – if you’re a human. But simultaneously, now that its best data-gathering days are behind it, its primary purpose is to serve as an ambassador for humanity to places which likely will have no concept of humanness beyond voyager. Neatly sidestepping the question of humanity embracing the technological as one of our own, it rockets toward those who may not know the difference, a machine which is also the most human being outside our solar system.

[Much thanks to Tim Maly, instigator and curator of the #50cyborgs effort, for help with researching this post, including many of the above links. For more consideration of organically augmented machines, check out Quinn Norton]

landscape maintenance

FASLANYC writes about the possibility of re-thinking the constitution, role, and importance of the maintenance manual, an idea which seems to me to be wholly appropriate to the practice of landscape architecture.  Surely the languid pace at which the commands contained within a maintenance manual are executed (as FASLANYC suggests, “manual” need not be read literally, but might, for example, refer to a forking, non-linear “computer program… incorporat[ing] data from the sentient-cyborg landscape and [its] socially-networked [users]”) aligns more closely with the pace at which change in a landscape actually unfolds than the traditional model for capital-intensive landscape architecture (roughly, conceptual design through construction administration, hand off to the client, and perhaps occasionally show up to take pictures for the office portfolio).  The possibilities implied by such a re-thought maintenance manual — for instance, as a model for the sort of slow cultivation of a fluctuating landscape which landscape urbanists have theorized about but struggled to implement — are quite exciting.

staging ground


[Detail from Andrew tenBrink’s “Staging Ground”; all images in this post are from “Staging Ground”; most of them can be clicked on for larger images with captions and more readable annotations.]

“Staging Ground” is the thesis project of recent Harvard GSD graduate Andrew tenBrink.  In it, tenBrink explores a series of topics which make frequent appearances at mammoth: delta urbanism (in this case, the inverted Sacramento-San Joaquin River Delta of central California), climate defense systems (here, levees, polders, dikes, and weirs), post-natural ecologies, and, perhaps most pertinently, what tenBrink calls “the agency of infrastructure”.

The existing Delta landscape is highly artificial, having been transformed since the 19th century by the construction of a system of levees that restrict floodwaters — the delta’s natural inclination being to flood regularly — and which allow Californians to make use of the rich agricultural soils.  Of course, as farming began to exhaust nutrients in the soil (and absent floods could no longer bring fresh deposits from upstream), the farmed polders have correspondingly subsided.  This necessitated further enhancement of the levee fortifications, which spurred the development of technologies such as the “Clam Shell Dredger” (PDF) for deepening channels and raising levees, and continues today in an arms race between failure and reinforcement.

The process of levee failure

And agriculture is not the only industry to have transformed the Delta: the Delta is also home to five “significant ports of entry for global trade”, such as the inland Ports of West Sacramento and Stockton, and so it is trafficked by containers, ships, and goods from that trade.  Moreover, the Delta is one of the primary battlegrounds for California’s raging “Water Wars”, due to its central location within the state’s water distribution system.  A USGS document (PDF) describes that position:

The Delta receives runoff from about 40 percent of the land area of California and about 50 percent of California’s total streamflow. It is the heart of a massive north-to-south water-delivery system whose giant engineered arterials transport water southward. State and Federal contracts provide for export of up to 7.5 million acre-feet per year from two huge pumping stations in the southern Delta near the Clifton Court Forebay. About 83 percent of this water is used for agriculture and the remainder for various urban uses in central and southern California. Two-thirds of California’s population (more than 20 million people) gets at least part of its drinking water from the Delta.

Between them, these three industries — agriculture, shipping, and water — have significantly altered the Delta as habitat, producing a post-natural ecology where industrial processes are intertwined with a rich collection of flora and fauna (which is increasingly composed of alien species).  The intersection of these industries, and their corresponding infrastructural support systems, has also produced a state of intense infrastructural crisis: levees are undermined from below by sinking water tables; saline intrusion — exacerbated by pumping required to maintain water tables — threatens the productivity of farmland and the freshness of drinking water; and sea level rise threatens the entire system.

A section cut through the proposed new levee highlights its multiple functions and potentials.

In response to this crisis, tenBrink proposes re-imagining the levee system.  More specifically, he suggests that four particular polders — Webb Tract, Bolden Island, Holland Tract, and Bacon Island — could be re-purposed, as tenBrink tells mammoth, to “effectively absorb high delta waters, to the benefit of the entire delta system”.  This re-purposing is accomplished primarily by re-configuring the fifty-one miles of levees that surround those four polders, and, in particular, the “points of transference of water through the new levee system and the levee edge itself”.  (Given that the entire delta has nearly eleven hundred miles of linear infrastructures, this is a relatively efficient proposal.)  This re-configuration requires managing a complex chain of casuality between infrastructure, ecologies, and hydrology, as tenBrink explains:

The polder islands are intricately connected to a delicate land/water dynamic, and must be dealt with cautiously. These large tracts of land often range between five and fifteen square miles. When flooded, they pose serious danger for further erosion of adjacent levees. Wind easily creates high amounts of wave energy in shallow expanses of water; if unchecked, this rapidly erodes nearby dikes, instigating an unstoppable domino effect of levee collapse. Levee edges must be re-purposed to mitigate wave energy while curating new ecologies that aid in the development of robust aquatic habitats.

But the entry of the delta waters into the polder islands remains a critical point of interest. This enormous infrastructural operation is often invisible to the public eye, [and so] the registration of hydraulic and mechanical movements is an important overlay in exposing the story of the Sacramento-San Joaquin River Delta.

The infrastructural piece as a whole is [designed] to expose [pieces of that story]. The base structure provides a footing for the water control above. The base largely remains unexposed with the exception of protrusions allowing occupants to be elevated to an advantageous viewing point. A habitable surface resides above the base structure. Interlocking with the structure itself, the platform is the primary structure occupied.

The transport of water is always a calculated practice; subterranean tubes allow for a precise option of transport between delta, interstitial aquatic zone and refuge. The device enabling water movement through the levee and base structure is the operable weir fitted with a mechanized central wall, adjusting the weir height in response to the desired water movement. Planting siphons pull water into the platform, allowing for emergent vegetation arising at varying water levels. ­ The internal edges of the levee are buffered with breakwaters, [absorbing] wave energy and allowing algae to grow. Algae are a critical supplier of biomass for the delta ecosystem. It is the primary feeder of the food chain, and when wave energy is high, it cannot grow. To assist in their initial growth cycle, algae broods are put into place, which provide protection for reproduction until their release for consumption. These broods are interspersed, acting as a functional and aesthetic component of the design. These are fitted with LED’s, registering their function from the platform at night.

The aim of this intervention is to create a more resilient infrastructure, one which, unlike the current system of mono-functional fixes for individual problems, produces efficiencies and provides a flexible framework for the development of future alternatives through the overlap of flood control, climate defense, logistics, recreation, and habitat creation.  “It is this staging ground”, tenBrink hopes, “upon which new adaptations might take place”.

Perspective renderings from “Staging Ground”.

[Click through for many more images from “Staging Ground”; On his blog — also entitled Staging Ground — tenBrink promises to keep readers posted on his on-going research, currently into islands in the South China Sea: “ghost states”, “titanium breakwaters”, “tactical coral reef farms”, guano, submerging atolls, and more…]

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sub-plan


[A drawing from SUB-PLAN; click to enlarge]

I’ve mentioned before that we try not to link to things that we suspect you, our readers, are already reading; this, of course, means that we rarely link to some of our favorite blogs.  However: BLDGBLOG‘s latest missive — which is on David Knight and Finn Williams’ explorations of the architectural implications of obscure changes to British zoning laws — demands a link, particularly given how interested we have been in the idea of exploring, hacking, and otherwise opportunistically mis-interpreting zoning laws.  Geoff writes:

Last year [Knight and Williams] published a book called SUB-PLAN: A Guide to Permitted Development, exploring the world of building extensions, temporary structures, outdoor spaces, and other minor acts of home construction that fly beneath the radar of official town planning.

“How far does planning control what we build? And what can we build without planning?” the authors ask. “SUB-PLAN explores the legal possibilities of building outside the limits of legislation.”

You can purchase a copy of SUB-PLAN here.

a cyborg arboretum


[Not a cyborg plant, but certainly technobotanical; image by NL Architects via Inhabitat]

1. This post is for 50 Posts About Cyborgs.

2. This is a cyborg arboretum.  That is, a collection of various plants not naturally found in geographic proximity, brought together for educational purposes, whose constituent plants happen to be cyborgs.  Not augmented humans, but flora augmented by “non-hereditary adaptations”.

Now, in some real and valid sense, just as we’ve been augmenting our own biological capabilities with technological adaptations for millenia, we’ve also been engaged in a massive and only semi-conscious re-shaping of the forms and functions of plants.  However, that re-shaping (co-evolution, really), as fascinating as it is, has been primarily through hereditary tools — biology as technology, rather than something which exists in tension with biology, and thus is an object of interest when, in odd cases, it is married to biology.

This being a post about cyborgs, we’re here to talk about those odd cases.  So, with the exception of one case that I find appropriate because a plant’s biology is being manipulated technologically to mimic a technological construct, this arboretum is filled only with plants which incorporate technology into their physical structure.

3. Arboretums are places for organization and display, so I’ve arranged the cyborg plants into four genera.

1 I’d show you a picture of Cyborg Plant, but it’s one of those things that’s better if you don’t see it.

The simplest kind of cyborg plant is well represented by a project executed at two schools in Zurich entitled, appropriately, Cyborg Plant.  Cyborg Plant consists of a simple avocado plant (Persea americana) which is nurtured by an attached robotic prosthesis1.  The prosthesis measures the avocado’s drought stress — indicated by “the position of the leaves and the electrical potential within the trunk” — and irrigates the plant as required.  This attachment, which is essentially a spacesuit for plants, enables the avocado to live indoors without human attention for much longer periods of time than would otherwise be possible (the interior of a built space being nearly as hostile for plants as land is for fish).

Plantas nomadas; designed, built, and photographed by Gilberto Esparza.

Our next plant is exponentially more complex than our first, but conceptually quite similar. Plantas nomadas are the creation of artist Gilberto Esparza; a minature eco-system composed of plants and micro-organisms is housed within a robotic shell, which provides the eco-system with the ability (and digital intelligence) to seek out new sources of nutrition when it is required.  Each of the elements is symbiotically dependent on the others: the plants provide habitat for the microbes, the microbes (in a microbial fuel cell) transform nutrients in water into energy to power the robotic components, and the robotic components provide mobility and direction for the compound organism.

2 In addition to being the first kind of plant in our arboretum, Plantas nomadas also happen to be a clever commentary on contamination, industrialization, and the relationship between humans and nature; but for that, I suggest reading about Plantas nomadas at We Make Money Not Art; Plantas nomadas were also seen recently at DPR-Barcelona’s post on “Performative Organic Machines” for the Infrastructural City series.  The Play Collective has also produced a similar (if less evocatively-built) cyborg.

Both Plantas nomadas and Cyborg Plant, then, are examples of what we might consider the first category of cyborg plants: those whose abilities are extended and transformed in a manner quite similar to the original vision of the human cyborg, as their ability to internally regulate inputs and conditions to cope with their immediate environment is enhanced2.  (It’s interesting to note, at this point, that on a less experimental and more horticultural scale, native plants, which we tend to think of as the most ‘natural’ plants, are in fact those plants which are closest to becoming cyborgs as species.  Though it would be a significant overstatement to describe them as such, modern horticulture, gardening, and landscape architecture employs a dizzying array of prostheses in order to maintain arrangements of native flora that we determine to be valuable, while it is ‘invasive’ and ‘weedy’ plants which flourish in our cities in the absence of intensive cultivation.)

Tim Simpson/Studio Glithero’s Natural deselction

Of course, technology and plants can be married in ways that are less pleasant for the plants involved.  In Tim Simpson’s Natural deselection, a small community of plants is placed in direct competition for survival.  Three potted plants sit in a triangle around an artificial stem, which protrudes a single mechanical shear towards each potted plant while holding a sensor above each pot.  Though they are (apparently) blissfully unaware, the three plants are in a mortal race: the first plant to reach a prescribed height lives; its compatriots are sheared.

As Alex Trevi notes at Pruned, the possibilities for domestic deployment are nearly endless (provided that one is inclined to treat living rooms as appropriate laboratories for accelerated evolutionary experiments):

One wishes this was marketed for the home decorating market, perhaps through a partnership with Martha Stewart Living Omnipedia or Home Depot; a mass produced kinetic sculpture that approximates the violence and savagery of nature, the brutal facts from which indoor plants seem happily divorced, that is, if they’re lucky enough to have attentive owners.

Stills from the augmentation of Talking Tree, on Vimeo.

3 Yes, of course communication is an ability which enhances survivability.

A third genus (and, as far as I can tell, the most populous genus) of cyborg plants might be called the networked plant.  Like the first genus, the networked plant sees its abilities extended through prosthesis.  However, rather than enhancing its ability to survive in a particular environment, the networked plant’s cybernetic components provide it with the ability to communicate to us in our native tongues (by which I mean of course social media, not language)3.

The Talking Tree, for instance, is a century-old beech near Brussels, which EOS magazine has “hooked up to a fine dust meter, ozone meter, light meter, weatherstation, webcam and microphone.”  Measurements derived from those instruments are translated into brief statements about the tree’s immediate environment, and broadcast on Twitter, Facebook, and the tree’s website.  The raw metrics are also available on the website as a live stream of un-anthropomorphized data; I suspect that a creative presentation emphasizing this raw data — and with it, the vast differences between how a plant perceives the world and how humans perceive the world — would be much more compelling than the statements the project produces, but it’s an entertaining experiment even as it is.

And there are plenty of similar experiments.  Botanicalls are cyborg-creation kits which can be used to give a plant the ability to place a reminder call when it is not watered.  They are, I believe, the only commercially-deployed cyborg implants available for your houseplants.   (Pothos, the twittering Toronto houseplant, is a Botanicall.)  Midori-San, the blogging Japanese Sweetheart Hoya (Hoya kerrii), is quite similar, employing sensors on its leaves to detect bioelectrical current, collecting data on ambient environmental conditions, and using an algorithm to “translate this data into Japanese sentences”.  Even the extraordinarily poorly-designed Australian “Facebook plant” Meet Eater, which Tim Maly pointed out to me by way of @Xeus today, falls into this category.  (The problem with Meet Eater is that it allows Facebook followers to provide the plant with water, but provides no feedback mechanism to indicate when it has been over-watered.  Which is why it is not surprising that Meet Eater is the third “Facebook plant” in a row to die of over-irrigation.  The more socially successful it is, the quicker it dies.)

4 Read more about the design implications of Ambient Biomedia at Pruned.

One interesting footnote to the networked plant, which is usually modified for the benefit of transmitting information from the plant to people about the plant, is Ambient Biomedia, where a plant is modified to reflect the emotional status of a person, thus transmitting information (deep breath) from person to plant to person about the plant4.

Illustration from Audrey Richard-Laurent’s proposal for a bio-luminescent street tree.

The final genus in our arboretum is the one that I mentioned earlier as a little bit of a cheat: a plant which has been genetically modified to perform a technological function, rather than incorporating the physical presence of technology in its body.  (Since this plant is only made possible by a technological infrastructure of advanced genetic modification and bio-engineering, I’m willing to bend the rules a bit to squeeze it in.)  Struck by the parallel placement of street trees and street lights, designer Audrey Richard-Laurent has been working on a proposal for a bioluminescent tree which would perform the functions of both tree and light.

Which, if you think about it for a moment, is an impossibly beautiful idea.  A city whose night would literally shine with health.

This might sound like a far-fetched idea, but, as Next Nature notes, a Filipino scientist produced a bio-luminescent Christmas tree by covering it in bio-luminescent bacteria harvested from local squid in 2007, and other researchers have proposed applications for (truly) bio-luminescent plants ranging from lighting highways (which, assuming that the bioluminescent trees would at some point begin to naturalize, might produce the most strikingly beautiful displays of exotic plant invasion imaginable) to crops which glow when they need water.  Mushrooms make forests glow; why shouldn’t trees make cities glow?

Welwitschia mirabilis, photographed in the Namibian desert by Rachel Sussman for her fantastic “Oldest Living Things” project.

The obvious question, then, is: what other technological functions might plants be modified to perform?  Might a tree like Welwitschia mirabilis, which harvests water from fog in the Namibian and Angolan deserts, be bio-engineered and grown on an industrial scale in literal fog farms, like a botanical version of the urban fog farms that mammoth has proposed elsewhere?  Or invasive submerged aquatic vegetation genetically programmed to assemble themselves into titantic but permeable storm-surge barriers off the coast of cities endangered by rising tides?  (One of my favorite Quiet Babylon posts, “If Plants Had Culture”, speculates on roughly this idea, spinning off scenarios about “body pollenating”, spices with shifting vintages, and symbiosis between fashion designers and color-changing flowers.)

A camera watches the forest; photograph taken in a Dutch wilderness area by Next Nature.

4. So that’s individuals: augmented for survival, augmented to their detriment, networked, and genetically modified to mimic technology.

The other possibility — given the degree to which flora is often even more specifically communal than fauna (see: plant sociality, clonal colonies) — is that entire associations of plants might be augmented, producing cyborg forests.

Experiments last year at the University of Washington discovered that the biologically-produced electrical energy of trees could be tapped as current suitable for powering electrical devices.  While the amounts of current tapped from an individual tree are quite small, researchers speculated that, by storing the output over a period of time and tapping groupings of trees, bio-electrical current might prove “a low-cost option for powering tree sensors that might be used to detect environmental conditions or forest fires”.

Spinning off parallel research at MIT, Alex Trevi suggests a series of additional scenarios, the second of which is surely a proposal for a cyborg forest:

COUNTERPROPOSAL #2: Harvest the metabolic energy of trees to power an apparatus which acclimatizes a parcel from its present northern climes to conditions last seen when the area was straddling the equator, thus enabling the survival of formerly native tropical flora and fauna.

“For the exogenously extended organizational complex functioning as an integrated homeostatic system unconciously, we propose the term ‘Cyborg’.”

If speculation about post-natural organisms interests you, you ought to keep an eye on two blogs in particular: Pruned and Next Nature.

obama’s national infrastructure bank

Infrastructurist has a quick summary of reactions to the Obama administration’s proposed National Infrastructure Bank.  (The reactions are mostly positive, from sources as diverse as the Wall Street Journal and The New Republic.)  Of course, enthusiasm for the proposal — which, as far as I can tell, is an excellent idea — should be grounded in an awareness of the massive gap between the relatively small pool of money proposed for the bank — $50 billion — and the enormous sea of money — $2.2 trillion over the next five years — that would be required to actually restore our chronically underfunded infrastructures to good condition.  (And, if I read the Infrastructure Report Card correctly, that’s just restoration, not building new infrastructures to under gird a competitive economy for the coming decades.)

commuting, wireless, and desirability

Writing for The Atlantic‘s Technology channel now, Alexis Madrigal makes a simple but important argument about how cellphones and other mobile devices, by enabling new ways of life, are affecting the form and density of cities:

…the latest network to overspread our country — the wireless electromagnetic one — is just not fully compatible with driving, at least for human brains. In more economic terms, the opportunity cost of car commuting is going up. You can listen to Howard Stern in a car; you can run your business from a train or bus.

Infrastructure is a viscous social structure, so I have no illusions that a century-old transportation system and its attendant urban forms are suddenly going to disappear. But it’s all the networks we layer on top of one another — information, power, transportation, water — that help determine the social desirability of a place.

This is a perfect illustration of why mammoth has argued that the smartphone is one of the most important pieces of architecture produced in the past decade.

networked containers


[A portion of the port of Tianjin — radically determined by the requirements, conventions, and techniques of international shipping; bing maps]

Writing for Current Intelligence, Serial Consign‘s Greg Smith (and guest co-writer Jordan Hale) discuss the history of standardized shipping containers, how that history has shaped the urban form of seaports such as Tianjin (and linked inland industrial regions), and why the incorporation of shipping containers into an “internet of things” may transform future cities — making “the vast rollout of sensor technology that accompanies [the transformation of shipping containers into network objects possibly] one of the most challenging and meaningful deployments of ubiquitous computing”.

architects without architecture

As a coda to our collaborative reading of The Infrastructural City, mammoth spoke with Kazys Varnelis, editor of that book, about how the infrastructural city and “network culture” are related, what the contents of an imaginary new chapter for The Infrastructural City might be, and the future of architecture in the wake of global economic crisis.

mammoth: For readers who are not familiar with the larger body of your work, we thought we might begin by situating The Infrastructural City within that broader context. Besides editing The Infrastructural City, you’ve also edited two other books (Networked Publics and The Phillip Johnson Tapes), co-authored Blue Mondays with AUDC co-founder Robert Sumrell, and are writing another book, Life after Networks: A Critical History of Network Culture. Our understanding is that you are trained and typically describe yourself as an architectural historian, not an architect, though of course you have taught architecture at schools on both American coasts, as well as overseas. How do the “networked ecologies” that The Infrastructural City describes relate to this larger body of work — particularly your investigations of “network culture” and your training as a historian?

Varnelis: I did receive my primary training as a historian of architecture. Now that training took place within Cornell’s architecture department , as opposed to, say an art history program and I took studio—the sort of ultra-disciplinary, purely formal “Cornell and Cooper” studio that is virtually extinct these days—and worked in an office for a time. But it’s an important distinction to draw. More than virtually any other field, architects generally insist that only individuals trained (or even licensed) as architects are qualified to speak about it. This is endemic to the discipline and detrimental to it. Manfredo Tafuri would say that it forces every argument to be operative; another term for this would be instrumental. If a text doesn’t end with an uplifting little section on how architects can use it in their work, it’s not only damaged, its potentially damaging. That’s a common perception and it is a bad thing for criticism since it reduces it to a subservient role; it’s a bad thing for architects since it suggests that they couldn’t possibly be intelligent enough to think for themselves; finally, it’s a bad thing for architecture since it prevents its deepest assumptions from being called into question.

Some people have expressed confusion about what we were out to do since they wanted it to be a ringing endorsement of a direction. They wanted to see OMA-designed windmills and so on. That would have been a very different project and a very predictable one as well. But that was a misunderstanding. Our intent was to produce a book that would redefine how we understand cities, infrastructure, and Los Angeles. I wanted the book to be relevant decades later, the way that Banham’s Los Angeles: Architecture of Four Ecologies was (although by now, I’m afraid, it’s long since worn out its utility). Superficial readings that aim for endorsements of design decisions won’t work. One has to dig deeper to understand what our point is. Older forms of infrastructure are history: we say that on the back cover. We’re in a different condition in this country: you can tilt at designer windmills all you want, but unless things change radically at a sociopolitical level, they aren’t going to get built. Our current administration is more interested in supporting the ethereal structures of financialization than any sort of building. Let’s get that clear. Republicans will do even worse, unless perhaps, you are a fan of military technology. Either way, the cards are stacked against us. Under the boom, things looked mildly better in Europe, but the EU is unlikely to leave the recession behind anytime soon. The Infrastructural City might be a good guide to the near future of architecture there as well, even if we didn’t anticipate it would be. And please, let’s not chase the dream to China:  demographics are stacked against the Chinese. A decade of growth and they’ll in the same situation as we are, only without any kind of social safety net.

As far as how this book fits into my current work, I have always been much more interested in big picture investigations—the scale of the Annales school or of thinkers like McLuhan, Jameson, and Baudrillard—than in microhistories. Even my dissertation was an affront to accepted notions of what a Ph.D. in the history of architecture should be: I set out to investigate how architecture turned to a spectacularized design methodology in the postwar era (most notably that very “Cornell and Cooper” education that I was taught) and how that synced up with a general aestheticization of politics in the field. When I was doing this kind of work everyone else was focusing on the small scale, on miniaturesque accounts of noble architects toiling somewhere in obscurity.

With regard to the Johnson Tapes, he was a key player in this moment and I’m still fascinated by the postwar era. Modernism had lost its ideological impetus but continued on in its own way, zombie-like, unable to cope with the consequences of an increasingly complex, technological society. When Joan Ockman approached me about editing the Johnson Tapes for the Buell Center, of course I was glad to do it. Columbia’s been great to me and this was an opportunity to do something very direct for the school while also reviving my work on Johnson and late modernism. I think that a critical book on Johnson is necessary: Schulze’s bio is hardly that. And the field of late modernism is still wide open: I’ll be working on Kevin Roche later this year and that will give me the opportunity to revisit that work as well.

For the last decade, I’ve been interested in how cities, society, and culture are transforming at this very moment. It’s not just a matter of how network technology drives forms of inhabitation, it’s how society is changing, partly in response to new technologies  but also actively shaping those technologies in specific ways. With Robert Sumrell, I began exploring these questions both through conceptual design and through theory. AUDC continues to go strong and you’ll see work from us from time to time.

I was lucky enough to have the opportunity to work with the Networked Publics team during a year-long residency at the Annenberg Center for Communication at USC and, after I came to Columbia, we shaped that material into a book for Doug Sery at MIT Press. We’ve continued asking the question of how the public is changing throughout the spring of this year and are collaborating with Domus and with Joseph Grima on new projects related to the topic throughout the summer and fall.

My big project currently is a book on network culture. This is a theoretical reflection on our own time as an era distinct from postmodernism. I mean, surely we can’t operate with the idea that, a generation after it first came together, postmodernism is still a current theoretical model. The role of technology in everyday life is completely different, for example. It’s become a new dominant, a kind of horizon for our culture that it most emphatically was not back in those days. Meanwhile, financialization has risen to new heights and manufacturing has all but expired in the developed world. I’ve published stretches of the book already and am aiming to have a draft on my Web site by the end of the year. It’s a huge undertaking—and a shifting one—but it’s crucial to leaving behind the notion that analysis has nothing to teach us anymore. Instead of bemoaning our economic condition, let’s celebrate the fact that the unreflective scramble for shoddy work is over.

Let’s start thinking again.

mammoth: It seems to us that The Infrastructural City essentially does two things. First, it is aimed at a better understanding of the infrastructural city. We might call this mapping (in a more generalized sense that the mere production of graphical representations of urban conditions), you refer to “redefin[ing] how we understand” cities. That task clearly constitutes the bulk of the text. Second, it is also, at least occasionally, concerned with the question of how urbanists can operate — can pursue desirable change — in the infrastructural city. As it develops an understanding of the infrastructural city, it shows why the traditional tools of the urbanist (first and foremost, the plan) have become increasingly ineffectual, and argues that we need, in response, to develop new tools. Later, we’d like to return to this second concern, to suggestions about what might replace those traditional tools, because we think The Infrastructural City contains some valuable hints about those tools — such as your discussion of a “command line” architecture in “Invisible City”, or Roger Sherman’s argument for an architecture that interacts directly with property, risk, and the informal transactions that produce the form of the city. First, though, a question that relates to the task of understanding the infrastructural city, as well as the “different conditions” you allude to.

In the two years since the publication of The Infrastructural City, we’ve seen several major social and political events that are affecting the city and its infrastructures. First and foremost amongst these is the global economic decline. Prognostications for the future of that decline vary wildly, but it is indisputable that the bubble conditions in which the latest layer of growth in the infrastructural city was laid down — the cell networks, the vast ex-urban speculations, the “return-to-the-city” condominiums — have ended, and been replaced by economic uncertainty. (Though we doubt anyone would accuse you of having failed to anticipate this decline, it is one thing to anticipate it, and perhaps another to watch it play out.) One might also add to this the major political swing that you’ve just noted, from Bush to Obama, which corresponded to a fairly broad hope (amongst urbanists, at least) that infrastructure would have its day in the sun of federal funding, and the disillusionment that has followed as what infrastructural funding has been forthcoming has been largely concentrated on (admittedly needed) road repairs and (unnecessary) rural highway expansions, both prized for their ‘shovel-ready’ quality. Meanwhile, technological changes — and corresponding societal shifts in the use of technology — have continued. As Lane Barden anticipates in the text, the Nokia phone featured on an ad cascading down the side of an office tower in one of his photographs now looks virtually antiquarian, so distant is it in form and function from the smart phones which increasingly dominate the cellular market. And their adoption is not strictly limited to the wealthier technophiles one might expect. The Census Bureau, for instance, recently found that one of the most effective ways to reach impoverished Hispanic neighborhoods in Los Angeles is through downloadable apps and content.

Given these events, it seems quite possible to us that your reading of the infrastructural city has shifted in those two years. Is that true? How might you map the infrastructural city differently today? One way to think about this might be: is there a chapter that you would include in a 2011 edition of The Infrastructural City that you didn’t include in 2008?

Varnelis: I’ve thought a lot about what the new chapter would be. I think that the book holds out a bit more hope than the current situation really warrants and I needed to be more precise about the problems we face.

So many people today hold out this idea that technology is our horizon: anything that goes wrong, it seems, technology can fix. Design, in this sense, is technology’s right-hand. All of the pseudo-academics and critics who praised the “creative city” and the Bilbao-effect suggest that design can get us past any problems. Is your city a post-apocalyptic rust belt? Well, some clever design, say via a Muji Store and a couple of design museums, will solve the problems. Or heck, embrace the favela chic and just re-brand it as the Rome of the Rust Belt.

A new chapter would analyze how we got where we are and the impossibility of achieving the kind of change that we need through design. Specifically, this chapter would be on how the problems of complexity, over-accumulation, and diminishing returns in our society block the older idea of infrastructure as a form of commons.

There’s little question that over-accumulation produced both the boom and the crash (just why this is a mystery to so many economists is beyond me). We’ve seen, to put it in the simple terms that This American Life used, the growth of a giant pool of money that business has accumulated since the start of capitalism. It took centuries for the well-off and even relatively well-off to accumulate $35 trillion of investment money worldwide, but in the six years between 2000 and 2006 that giant pool of money doubled. All of these investors with all of this money wanted high returns; they looked at the performance of market indices like the Dow and saw unprecedented rates of profit (in the case of the Dow from 891 in 1980 to over 11,000 in 2000), considerably more than the historical rate of return from manufacturing (which historically speaking has been roughly 8%). After all, many of them had accumulated their money that way so why not expect the good times to continue? And of course rates of taxation that also were historically low helped all of this. The theory went that as long as tax rates were low, the economy would boom and the resulting growth would generate even more revenues than if taxes were at a higher, sustainable level. This was a great idea except that it was a little akin to taking speed to get you through a project: surely if it improves your stamina tenfold, it’s got to be good for you, right? Well, eventually your teeth will fall out, but if you keep at it you can always get out, right? Collectively, investors in the developed countries ceased investing in production and instead turned more and more to complex financial instruments that could produce high rates of return, even if these were based on  bubble economics. Manufacturing’s been gutted in places like the US or the UK. In our case, in 1980 manufacturing was about 25% of the GDP while financial services were about 12%. By the end of the bubble in 2006, manufacturing was down to 12% while finance had soared to over 20%. I hate to say that things have gotten worse since, but they have.

Again as far as “solutions” go, the case of China is a special one: capitalists are investing in an area with tremendous inequalities and inefficiencies and able to reap huge rewards from low wages and massive productivity gains. That’s how you can make good money on a $40 DVD player that cost a dollar or two to produce. But that won’t last forever.

And then there’s housing. Architects were eager to participate in that boom and it was quite stomach-turning to see them plunge headlong into a mad system. And housing did well, for a time, returning the necessary rates of investment, but again, it was based on something from nothing. Even now, in so many places—including the countries that I know well, the US, UK, Lithuania and Ireland—the bubble still has some 20 to 40% to fall to return to reasonable rates based on long-established historical relationships of what kind of real estate wages can support. Architecture became virtual in the last decade, but it did so in “luxury” housing, not in cyberspace. Moreover, just how economies that have no more real industrial base are supposed to produce the wages to pay for this inflated real estate is beyond me.

I mentioned it in my introduction to the book, but now I’d be more emphatic about the role of neoliberal economy policy in all this. Low taxes means little investment in infrastructure. Railroads are literally falling apart. Gutted by underinvestment, average train speeds have been declining for years. Refineries and the electric grid are stressed to a breaking point as deregulated industry avoids tying up capital in rapidly-depreciating physical things whenever possible. So it’s no surprise that, when Obama picked Larry Summers to come up with an economic policy for him, the former Harvard President who once said that women weren’t smart enough to be scientists or engineers chose bailing out financial services and handing out stimulus checks to consumers instead of investing in infrastructure.

That’s the reality we’re up against and the Zaha Hadid-designed windmills that critics are upset with me for not going ga-ga over are little more than Potemkin Villages masking a world continually collapsing.

The economy is infrastructure. I should have been more clear about that.

I also think it would have been helpful to talk about complexity in the way that Joseph Tainter discusses it, yoking it to the framework that I’ve developed above. We’ve become so incredibly adept at routing around our problems that a topological map of our world—if it were possible—would be something like a map of the infrastructure in Terry Gilliam’s Brazil. So to keep this increasingly convoluted and highly bureaucratized system going, we have produced intense levels of complexity that require greater and greater amounts of energy to keep going. This energy is quite literal and we’re seeing diminishing marginal returns on energy invested even as peak oil looms (and of course oil is our major source of energy). At a certain point, the system becomes unsustainable and the result is collapse, which Tainter defines as a greatly diminished level of complexity. Tainter suggests that the way out is innovation, by which he means technological innovation although I think that the financial innovations that I described earlier are similar. The problem is that these systems are unsustainable in a fundamental deep way. The Infrastructural City isn’t just a condition, it’s a bellwether for a long-term culture of crisis.

In that light, although I’m tremendously sympathetic to projects like Roger Sherman’s game theory urbanism as a way of operating within such highly complex environments, the lack of a larger approach within the book suggests the lack of a larger solution within design per se. Rick Miller and Ted Kane’s piece is brilliant in its unpacking of the problems that “light,” privatized infrastructure produce in cities. It’s not so much a question of AT&T not extending its coverage enough, it’s a question of how mobile phone companies lead cities to conceive of themselves as entrepreneurs. That’s not an appropriate role for cities: what happened to ideas of the Commons? That’s a failure point for the imagination and redevelopment of infrastructure today. Other pieces are like Calvino stories, unmasking the unsustainability that underlies the infrastructural city: a town that excavates itself turning into a series of giant holes, a river that will disappear if its restored to its natural state, the re-watering of a desert lake, and so on. The book’s value in my mind—and what I am trying to do through my current writing—is to make people go out and uncover the deep madness underlying our society. People talk about the irrelevance of academics. Maybe that’s because we got too busy talking about obscure theory and weren’t willing to focus on the deeper issues that, frankly, it was our duty to take on.

mammoth: How peculiarly American are these problems? While financial upheaval is clearly a globalized and interconnected phenomenon, one gets the impression that, as a political and cultural matter, the “idea of the Commons” remains relatively healthy in, say, continental western Europe. And that perhaps corresponding advantages accrue to design culture: there is a greater quantity (and quality) of public work to be done, critical infrastructures are more likely to be designed by public teams which include architects and landscape architects (rather than by private corporations). There, the odd, ad-hoc semi-publics that control American local, urban politics — NIMBYist neighborhood associations, our individualist distrust of the very idea of expertise, etc. — do not appear to have such a stranglehold on planning processes. Or, for that matter, even with all the governmental dysfunction and systemic poverty, the situation seems less deadlocked in South America, where young designers are thriving, backed by governments, institutions, and individual leaders who are arguing for the importance of a commons, and, critically, backing that argument up with targeted spending. We’re thinking, for instance, of the celebrated case of Medellin, where architecture has been treated as social and economic infrastructure.

Varnelis: These problems aren’t just American. We’re dealing with global problems endemic to an aging capitalism. The idea of the commons is certainly more popular on the continent, but if you listen to the response to the economic crisis there, it’s that this is the end of the European welfare state. In other words, the crisis will make Europe is going to be more like the US/UK/Ireland, not less. I hate to say anything bad about the unions in a country where unions are all but dead, but unions were part of the problem in the US and are a bigger part of the problem in Europe. Rather than working to build a more just system across the board, unions have instead turned to protecting entrenched membership. This is a major problem in America, whether it be the collapse of NASA or the collapse of cities and its increasingly the problem in Europe too. Watch for a European PATCO crisis soon. Don’t expect much building anytime soon, unless it’s done with funny money.

Now when we look at Medellin, certainly there’s a lot to applaud. But you’re also looking at a condition where capital has moved to a place that has been underproductive for too long. There’s no question that it’s easier to do more in places that are growing.

mammoth: You mention that the loss of the “idea of the Commons [is] a failure point for the imagination and redevelopment of infrastructure today.” But here in America, has there ever been a strong culture of the idea of the Commons guiding the development of infrastructure? Certainly, there have been select examples — Eisenhower’s freeways — but many of the infrastructures that have been most influential in the development of our cities, such as Los Angeles’ own streetcar networks and New York City’s subway, were privately funded and planned. Should architects be working to reclaim (or construct) the idea of the commons? Or do we — architects, landscape architects, designers, urbanists, who all presumably hold out some hope of remaining relevant to the future of the American city — need to find ways, like Sherman’s approach, to design around the absence of the commons? Or perhaps this pair of questions sets up a false dichotomy, and the way to continue working while not ignoring the “deeper issues” is to hold seemingly Sisyphean tasks like reclaiming the idea of the commons in tension with flexible and approaches which are aimed at small, tactical acts of productive architecture?

Varnelis: Let’s be careful about one thing: neoliberalism—coupled with Ameriphobia overseas—has been highly effective at depicting this idea of the US as having always been the same. There’s been a radical rewriting of history to make it seem like the frontier myth is all there is. There’s always been a back and forth and many of those infrastructures were turned public rather rapidly only to see much greater success. Often, of course this has been in service of real estate, as the case of the LADWP  shows too clearly.

As far as design: I agree with you. Architects have been too enthralled by neoliberalism for too long, e.g. public/private partnerships (don’t even get me started: bad loans for bad private projects are a major source of fiscal crisis in cities today), the market, etc. We need to advocated for policy change, toward greater shared resources. I think it’s obvious to anyone that the current political and economic system is massively dysfunctional and will come to an end. Just when, none of us know. Will it be replaced by a happy form of fascism? Just possibly. Architects need to advocate for positive political change, but as they do so, they’re going to need to find a way to make do and, in general, it is going to be tactics like Roger’s that are going to make a difference on an individual level.

mammoth: A consistent argument mammoth makes is that the value of architecture and architects lies in much more than just the design of buildings. Which is not at all to say that we find buildings uninteresting or unimportant, but rather that architecture as a discipline ought to think of itself more as a way of thinking than as a discipline that — like, say, structural engineering — is primarily concerned with developing a unique kind of technical expertise and defending that ‘turf’ from the encroachment of other disciplines.

You make a similar comment in a recent interview published in Triple Canopy, saying that “architecture doesn’t teach you how to regurgitate knowledge, rather it teaches you how to deal with problems. Architecture has always been about much more than just building buildings”.

This is a particularly relevant position, we think, in a climate where “building buildings” is, as you note, something we should expect to see relatively much less of. (Kenneth Frampton, writing in Steven Holl’s new monograph Urbanisms, notes that Holl literally had to go to China to find the regulatory and financial freedom to build the sort of “megaforms” that he had been drawing. Setting aside whether those buildings are necessary or not, it seems an instructive lesson in the difficulty of realizing what might traditionally be considered ‘significant’ architecture.)

Do you think, though, that architecture schools are really producing architects who are prepared to be thinkers rather than technicians?

Varnelis: Absolutely. The longstanding recession that started in the early 1970s and lasted until the mid-1990s led many architects to investigate radically different methods of production. Unfortunately, the building boom led the field astray, back into a disciplinarity of the most conservative kind just at the same time as it egged them on to build pretty much the worst buildings since the mid-nineteenth century. It was a colossal failure of a decade, a model of everything we shouldn’t have done. “Make it new!” So few of us were asking why, why should we make it new? Even fewer were asking why make it at all. Education, which could have paved the way for a new century of architecture, has been devastated. Most schools have either retrenched into a nostalgia for the hand or a fetish for parametric fantasies. Doesn’t anybody think about how these people will be employed?

But this is the reason that I’m at Columbia. Dean Wigley set out to create what he calls the “expanded architect,” building a school in which you get an architectural education, but you also employ the methods you learn in nontraditional venues. It’s a big enough school to easily accommodate such efforts.  The sort of work that the Spatial Information Design Lab, or C-Lab, or the Netlab is doing is, generally speaking, unlike what’s produced in architecture schools or in the typical office, but it’s essential for pushing the boundaries in the field. I’m optimistic that other schools will follow our lead to do the same in the future. Imagine what sort of students you might produce if a school decided it wasn’t necessary to deal with the accreditors anymore. People have been asking why teach history and theory. Well, why teach structures or professional practice? Maybe not everyone needs these classes. I think it’s a radical experiment that’s well worth pushing.

fifty posts about cyborgs

To celebrate this September being the fiftieth anniversary of the coining of the term ‘cyborg’, Tim Maly — whose Quiet Babylon is, as it used to say on the cover, concerned with “Cyborgs, Architects, and our Weird Broken Future” — has corralled a team of bloggers and guest writers to produce fifty posts on the subject.

The first question that might occur to an architect, I suppose (assuming that this imaginary architect is not a regular reader of Quiet Babylon — though he should be), is what, exactly, architecture and cyborgs have to do with one another.

The answer is quite a lot — but realizing this depends on understanding what a cyborg is.  Though, as Tim explains, the word has come to refer (particularly in pop culture) primarily to extreme biological-technological hybrids like Schwarzenegger’s Terminator or Star Trek’s Borg, it originally (and perhaps more usefully) refers to a much larger class of bodily augmentations, which Tim describes as “non-hereditary adaptation[s]”, or “technological interventions that change the course of biological existence”.

Because, again using Tim’s words, “visions of cyborgs are all about the relationship of technology to the body”, it turns out that, as Geoff Manaugh points out, the cyborg can be read as a negation of architecture:

The cyborg [under Clynes and Kline’s original definition and] in this specific sense, then,  is an organism that does away with the need for architecture—it brings its environment along with it, in the form of artificially created internal feedback systems that adapt, on their own, to often radically changing environmental conditions.

1 For a longer explanation of why this is the case than I’m about to provide, see Tim’s somewhat earlier Quiet Babylon series on the topic, “Cyborgs & Architecture”: AdaptationAstronauts and Super VillainsNomads and HomesteadersMobile StructuresThe Invisible Infrastructure of Cyborgs, and 6 Points on a Continuum.

I think Geoff is careful to provide that qualification in this specific sense, though, because when we accept Tim’s broad thesis — that the best image of a contemporary cyborg might not be Robocop, but a woman wearing glasses and holding a cellphone — we soon realize that the line between the architectural and the cyborg can be quite blurry1.

Take, for instance, Keiichi Matsuda’s “Augmented City”.  Matsuda (whose previous video, “Domestic Robocop”, we noted at beginning of the year) produced the short for his Masters Thesis at the Bartlett School of Architecture.  In both “Augmented City” and “Domestic Robocop”, we see one example of what a cyborg architecture might be.  Rather than using the traditional tools of slow architecture to construct and re-construct the built environment around themselves, future cyborg architects might internalize the process of construction and re-construction, altering not the physical substance of the built environment, but their own perception of it.  As Matt Jones notes after Archigram, “people are walking architecture.”

If that possibility — or the history of cybernetics, or the idea that cooking might be understood as a bodily augmentation (a “pre-stomach”), or teasing out the connection between Christopher Alexander and cyborgs — is at all intriguing to you, you’ll want to subscribe to 50 Posts About Cyborgs.  (You can also follow the discussion at the twitter hashtag #50cyborgs.)

our decrepit infrastructures

In the wake of last Monday’s Long Island Rail Road snafu — where “a tiny electrical fire in an obscure contraption of levers and pulleys installed nearly a century ago” knocked out train service for hours — the New York Times looks at five other American infrastructures which are exceptionally vulnerable due to the combination of “antiquated hardware and delayed maintenance”, from levees in California’s Central Valley (threatened by rotting wooden stumps, squirrels, and beavers) to the four hundred and eighty relay rooms of New York City’s subway system.

reading the infrastructural city: chapter eleven index


[The Studio Zone, a 30-mile radius in Los Angeles which serves to determine the “rates and work rules for workers in the entertainment industry”; the majority of Los Angeles’ prop houses are located within the Studio Zone; image via the California Film Commission]

Robert Sumrell’s “Story of the Eye: Props”, noted elsewhere:

DPR-Barcelona skip between prop houses, “The Red Violin”, Reynar Banham, and the Smithsons to land on the assertion that today we collect links as immaterial props may be superseding material props:

Consumption has evolved and even it is still outrageous; we are moving to a scenario where services not products are more and more demanded. And in our hybrid cities some kind of immaterial prop houses have emerged to keep our virtual belongings safe. Although Kazys Varnelis pointed that today we collect nothing, we think that today we collect links and information through a del.icio.us or Pearltrees account and also exchange information and services via facebook or twitter. In this sense we are keeping outside our homes a important part of our life. These data are kept safe in servers far away from our physical location and those servers as prop houses provide them a physicality. While having physicality they are exposed to the same kind of “dangers” of our material possessions, they can be lost, damaged by fire, or even stolen.


[The intersection of Beverly Boulevard and La Cienega Boulevard is the exact center of the Studio Zone; image via Wikipedia]

Free Association Design focuses on self-storage facilities, a peculiar and closely-related typology which Sumrell briefly mentions:

The architecture of public storage facilities is as pragmatic and minimal as the retail industry’s big boxes, and both are designed to facilitate a similar and limited prescribed program (maximized cubic footage, climate control, ease of access and security).  The linear assembly of roll up doors mimics the retail distribution centers from where most of the objects likely came; only smaller and with a nebulous chain of retail operations, logistical geography, job transfers and other life changes between them.  The resemblance sublimely illustrates a conservation of product volume that is distributed across virtually unlimited user space.  In the consumer-retailer network, more and larger big boxes beget more big boxes.

Most of the time the extensive footprint of the double-entendred ‘self‘-storage facility is uninhabited by the living.  The glorified sheds provide shelter only to inanimate assemblies of stuff and its combined exchange and symbolic value.   And just like Hollywood’s prop houses, there is no prescribed order for how the objects within are arranged or what those objects may be.  Behind each brightly colored roll-up door (typically the only design flair applied to the architecture) is an eclectic and mysterious collection of cargo that has been amassed via unknown histories.

You’ll want to read on as Brett explains why self-storage facilities are like the remote Pacific Islands that played host to indigenous ‘cargo cults’ in the wake of World War Two.

While “Props” is the last chapter of the Infrastructural City, we did say that we would — and still intend to — post on Varnelis’ Introduction as a means of conclusion.  (FASLANYC has already done so.)  In the meantime, you should be sure not to miss our interview with Lateral Office.

props


[Omega/Cinema Props’ C.P. Three, at the corner of Santa Monica Boulevard and Bronson Avenue; via bing maps]

At some point, presumably, continuing to open our commentaries on The Infrastructural City by noting that the chapter of the week — in this case, Robert Sumrell’s “Props” — reads significantly different from the other chapters will ring false.  But, once again, it’s the obvious place to begin.

Where each of the previous chapters described an aspect of Los Angeles that is reflected in many other cities — cellular networks, property, ubiquitous landscapes of material extraction, post-natural hydrologies — “Props” circles around an infrastructure, the “prop house”, which is essentially unique to Los Angeles, at least in scale and ubiquity.  (One suspects that Mumbai, for instance, might rival Los Angeles in density of prop houses, but that is a similarly exceptional case.)

Noting the uniqueness of the prop house to Los Angeles, though, is rather getting ahead of myself, as I’ve neither described what a prop house is nor explained why it might be considered an infrastructure.  Very quickly, a prop house is a warehouse that rents objects to the entertainment industry, but the best way to answer these questions is to quote Sumrell, who, after opening with a very specific anecdote about a single prop house — C.P. Three, pictured above — says:

“…no single prop house can claim anything close to a complete material survey of the world.  Instead, a variety of prop houses offer highly specialized and themed fragmented utopias, each catering to different needs and subject matters…

There are no standard methods of operation or organization for prop houses.  Some are rigorously organized, others are more haphazard.  Nonetheless, all prop houses are logistics centers for the storage and circulation of objects.  They allow art directors to compare a variety of similar goods to make selections, place the items on hold until final approvals are determined, let the objects out for an agreed upon rental period, and then retain the objects after the transaction is completed in case they should be required again…

Prop houses and film locations are one of the many networks of entertainment support services essential to the survival of Hollywood.  While films can be made in any city, the concentration of camera rental facilities, lighting companies, film stages, agents, entertainment lawyers, trained labor, and celebrity talent that are unique to Los Angeles ensure that the region maintains its dominance.  If Hollywood specializes in the production of immaterial culture, prop houses and locations are its largest material substrate in the city, grounding it in a prosaic, if extreme, reality.”

Further separating “Props” from the chapters before it is that while the previous chapters told us a great deal about the construction of Los Angeles — infrastructure as sinew — but “Props” is less interesting for what it tells us about the production of urban fabric (the prop house being a relatively rare and unremarkable component of that fabric, even in Los Angeles) and more for what a peculiar piece of that fabric tells us about ourselves.

“Props” accomplishes this by, in addition to relating a history of these peculiar warehouses, also situating the object housed — the “prop” — within a series of architectures, whose scope expands to explore the general cultural significance of the prop: first the prop house, but also passing through the televised dreamland of the commercial, and into the home (and the self-storage unit), which, Sumrell argues, can be understood as a prop house itself.  The commercial is the key intermediary in this cultural process, as it is the valuation of the consumer good in advertising as a “purely symbolic” prop which causes goods taken into the home to perform in the same manner.  “Once purchased and taken home, the consumer good has to serve both as the symbolic prop that seduced us on television while also performing the function it was ostensibly purchased to accomplish.”

When consumer goods are seen through this lense — as props which import symbolic value into our homes — the prop house can be understood not merely a fantastically odd iteration of warehouse typology, but also a distilled and concentrated architectural moment representative of the sort of broader cultural trends that The Infrastructural City has repeatedly sought to situate infrastructure within:

“The Protestant ethic of thrift and production that Max Weber observed in American culture is long gone.  Instead, we have radical abundance propped up by massive debt.  Even though consumption is still rampant, we have passed the point of needing to produce more things as a society.  Our homes are still prop houses, filled with useless consumer goods that exist primarily to provide a context that we can react to.  Our growing relationship to our objects, or props, is that of a programmer to bits of code.  As programmers, we assemble these pieces of code into a context, or language, that builds a program to execute a series of actions.  Network systems are the infrastructure on which these programs run and interact.  No network is essential, just as no single node is vital — all that matters is movement within the network.  What we are left with is a constant circulation of bits, like the elements and molecules in chemistry that create a living ecosystem — it is this constant cycle of change that keeps the system vital.

Prop houses provide a utopia for this condition.  Not only do they suggest that our Long Tail desires might one day be valuable, they promise that objects can endlessly circulate in an infrastructural condition, provide context and meaning to produce momentarily perfect settings.”

If you’d like to read further about the physical geography of prop houses, I recommend Stefano Bloch’s UCLA thesis, “Properties and Prop-House Geography” (PDF; via DPR-Barcelona).

roosevelt pneumatic


[Collection containers sit in the Roosevelt Island pneumatic system; photograph by Jonathan Snyder for Wired.com]

Wired‘s Gadget Lab tours the Roosevelt Island pneumatic trash collection system:

In 1969, New York City granted the state a 99-year lease to develop the island, and the planning began. Ideas for the island included housing for United Nations workers, housing for doctors and nurses, one big park, a nuclear power plant, the New York Aquarium, an Egyptian museum, theaters, promenades, a new home for the bodies in Brooklyn and Queens cemeteries, casinos and a canal that would cut the island in half.

Eventually, planners settled on a utopian, car-free residential community for 20,000 New Yorkers. The narrow streets wouldn’t be fit for traffic, or for garbage collection, so a pneumatic trash system became part of the plans. In 1973, the island was dubbed Roosevelt, and construction of the system and the first residential towers was finished in 1975…

…A network of 20-inch tubes takes garbage from the island’s 16 residential towers, collecting from every floor, to a central collection point where it is compacted and trucked off the island.

Watch the entire slideshow at Wired.

More: Fast Trash was a recent exhibition about the same system, which argued “that service infrastructure plays a crucial role in cities and is even capable of inspiring the collective imagination”; watch a short film, “Nature Abhors a Vacuum”, at the Fast Trash website.

“tim burton’s inception is not a film that needs to be made”

A prominent “architectural” critique of Christopher Nolan’s Inception seems to be that its architecture is insufficiently dreamlike (example: Aaron Betsky).  At Super Colossal, Marcus Trimble provides a helpful corrective to that line of thinking, situating Inception within a repeated portrayal of generic downtowns in Nolan’s films.

While the most important thing to note when correcting this sort of critique is, as Trimble says, that the generic quality of the architecture is true to the internal logic of the film (and a dreamlike architecture would not be), the demand for dreamlike architecture is quite consistent with a cultural predilection for evaluating the interest of architecture primarily in terms of its (visual) novelty.  (To me, questions that might arise from the suggested use of predictable architecture as a means for producing psychological comfort seem at least as interesting from an architectural standpoint as any questions that might be provoked by a CGI-enhanced tour of, say, a city populated by the MVRDV and FAT designs that Betsky suggests.  Which not to say that I wouldn’t enjoy the latter — I would — but that an architectural imagination which finds only the latter interesting seems very limited.)

Also pleasurable and speaking of Fashion Architecture Taste: Charles Holland on Inception: “It would be far better if the film had no ending at all and instead just carried on and on indefinitely until people finally grew bored and left the cinema”.

“what to do when there is nothing to do”


[“Weather Field”; Lateral Office + Paisajes Emergentes for Land Art Generator Initiative]

As we have nearly reached the conclusion of our collaborative reading of The Infrastructural City, we thought it would be interesting to discuss some of the lessons of the text with one of mammoth‘s favorite architectural studios, the Toronto-based Lateral Office. In a series of emails, mammoth spoke with Lateral’s Lola Sheppard and Mason White about why the Economist is more essential reading for architects than Wallpaper, what an “expanded field” for architecture might look like, how to evaluate the performance of a speculative proposal, and, of course, The Infrastructural City.

Readers of mammoth are likely also familiar with Lola and Mason as two of the founders of research-group-slash-blog InfraNet Lab; in addition to Lateral and InfraNet, Lola teaches at the University of Waterloo and Mason at the University of Toronto.  The awards that Lateral have received include Canada’s Professional Prix de Rome in Architecture, selection for Pamphlet Architecture 30, finalists in the WPA 2.0 competition, the Young Architects Award from the Architecture League of New York, and the Lefevre Fellowship for Emerging Practitioners from Ohio State University.


[A.I.R. Unit; Lateral Office with artist Sara Graham]

mammoth: The reason that we thought an interview with Lateral might be particularly appropriate at this time is the overlap between the text that we’ve been reading and discussing this summer — The Infrastructural City — and your work, which has largely been about imagining new typologies for and relationships to infrastructures. Even those projects, like the A.I.R. Unit, which concern more traditional architectural programs like spaces for dwelling show a clearly infrastructural way of thinking about architecture. How did you become interested in infrastructure?

Sheppard: I’m not sure that, initially, we would have identified our work specifically as being about infrastructure as a category.  But we would say that we began, even when dealing with single building or public space, with a desire to unpack the systems which underlie a given site or condition.  I’d say we were more interested in format than form.  There were two early projects which probably changed the way we thought.  One was a competition for a dock in Memphis, TN, where we looked at harnessing changing water levels and seasonal flooding to drive the project — and produce sounds. And the second was a research project from 2003, entitled “Flatspace”, which we pursued as Lefevre Fellows at Ohio State University. We were researching the reformatting of expansive retail corridors and ended up generating nine proposals, three driven by program, three by  landscape and three by mobility networks. That project sowed the seeds for the strategies and approaches in our later work.

I think also that we have always been interested in rethinking the overlooked parts of our built environment — and much of what organizes these environments seems to fall under the category of logistics and infrastructure.

White: Those early projects, though naive and more searching than strategic, were foundational to our approach to current work. And I really only wanted to add that, regardless of the term infrastructure, we are seeking the limits of an extrinsic architecture, and this often circumstantially addresses infrastructure(s).


[Models from Flatspace; Lateral Office]

mammoth: We’re glad you brought up “Flatspace”, as it has been on our minds this week — the chapter of The Infrastructural City we read this week deals with the same exurban landscapes of distribution and consumption as “Flatspace”. (It also happens to be how we first learned of Lateral, after it was published in 30 60 90.) We’ll return to it shortly.

But, first: what is ‘an extrinsic architecture’?

White: This is something we are asking ourselves as well. We are finding it to be an architecture that is very aware of its external influence, and maybe more importantly, any opportunities afforded by that awareness. Really, with our work we are seeking an understanding and incorporation of the ever-ricocheting effects and potentials of a work of architecture. Asking ourselves: how deep into its region or environment does a project reach? And quite often, this has taken us out of architecture, and into economics, ecology, energy, and others.

mammoth: An interesting question this raises is the issue of expertise: obviously, as architects, we are not specialists in economics, ecology, energy, and so on. What about being an architect enables us to make useful decisions about the interactions between architecture and these other fields? More specifically, how has Lateral approached investigation into territories — like, say, the logistics of big-box operations you investigated in Flatspace — where you do not have specific expertise?

Sheppard: It’s a good question, and one I’d say we grapple with often.  We increasingly begin projects with broad and open initial research, to get a sense of the range of issues. For instance in the Flatspace research, we looked at a whole host of issues – the role of GIS, aerial photography, site targeting and the entire militarization of site identification, the notion of ‘branding the land’, the role of zoning regulations, the construction of big boxes…

In this scenario, armed with at least initial knowledge, I think the role of the architect is to read the opportunities. Specialist will have deeper but narrower readings of a specific site or context. As in tunnel vision – it can be sharp but narrow, potentially overlooking issues that aren’t categorizable. I think we try to have 270 degree vision. The architect in this scenario is not simply problem solver, but cultural, environmental and spatial detective, bringing to light the forces (geographic, economic, and cultural) at work within a given geography, and able to look for synergies between issues and opportunities.


[Flatspace; Lateral Office; “the expanded field of retail corridors
“]

White: The specialization issue is a prickly one – but I think worthwhile to expand upon a bit. And here I am always reminded of the fox versus hedgehog debate that Isaiah Berlin illuminated. (The fox being an expert generalist, and the hedgehog being an expert specialist.) I think this debate is also one that made us more sheepish about our work in the beginning – thinking that it was not a methodology we should be pursuing for the very reasons you just mentioned, and that we should specialize in something overtly architectural–forms, materials, fabrication. But over time, our position has solidified more as a specialization on phenomenon and opportunities that is between categories and disciplines. For example, I still think the most important magazine to subscribe to as an architect is the Economist, not Wallpaper. Reading the Economist as an architect, you can see things before they become relevant in architecture, with Wallpaper or Dwell you are seeing it after the fact, as a trend.

Really we are most interested in questions of architectural typology and spatial format, and these are often promiscuous interrogations.

mammoth: It’s interesting that you say that, at the outset of your work, you thought you “should specialize in something overtly architectural”, but you’ve since been pulled towards more “promiscuous” work. Was there a particular moment — or project, or set of projects — that produced this shift?

White: It is hard to say that there was a specific moment, but probably some combination of the Flatspace research project at Ohio State University as Lefevre Fellows and a general skepticism of our own professional experiences, as well as the education that brought us to that. More optimistically, it was likely a reaction to a broader position and potential for architecture that lay latent in early work and approaches as students. But, probably hard to identify a particular moment. From early on, we were very influenced by the work and thinking of Keller Easterling, Bucky Fuller, Cedric Price, Constantinos Doxiadis, and others, such as Georges Perec, Paul Virilio, and Luis Fernández-Galiano.


[Farming Salton; Lateral Office for cityLAB’s WPA2.0 competition.]

mammoth: The very first chapter in The Infrastructural City, Barry Lehrman’s “Reconstructing the Void”, is about Owens Lake, which is an extraordinary post-infrastructural, post-natural landscape north-east of Los Angeles. South-east of Los Angeles, of course, there is a larger and more famous, but similarly post-natural body of water, the Salton Sea. Your entry to the 2009 WPA2.0 competition, “Farming Salton,” takes the devastated condition of the Salton Sea as an opportunity, proposing a series of new infrastructures to be overlaid onto the Salton Sea and surrounds, with the aim of generating new sustainable ecologies, new economic generators, and new recreational opportunities.

One of the things that you suggest in the project is that these new infrastructures should be “coupled” — that “multiple processes [should be bundled] with spatial experiences”.  (Given that “Coupling” is also the title of PA30, it seems fair to say that this is a common theme in your projects.) Why is this important?

Sheppard: We’ve been huge fans of The Infrastructural City because it has served as an original medium for outlining the scope and potential of readings of infrastructure.

The question of ‘coupling’ is interesting to us, because if you look at the history of most infrastructure, it has tended to be mono-functional. It typically consists of engineering projects designed to address a single problem.  We’ve recently been talking about “landscapes on life-support,” where infrastructure, in the current condition, serves to simply maintain a failing ecological state.  (Owens Lake is such an example, where the state of California spends upward of $415 million on the Dust Mitigation Project simply to prevent toxic dust from spreading.)  In projects such as Salton or Icelink, we ask: can infrastructure be more pro-active or more catalytic? Can it serve to support other conditions — ecologies, economies, and public realms?

Our interest in infrastructure really began with an interest in expanding the scope and territory of architecture’s realm beyond the singular building, to include more mutable or contingent conditions. We wanted to embrace questions of economy, logistics, ecology, etc. Infrastructure emerged as a basic precondition for all these questions. Alone, it remains a purely logistical operation. However, in coupling or bundling multiple functions that operate like epiphytes, an expanded territory of intervention emerges. An architecture which responds to opportunities of contingency manifests itself in atypical spatial formats. In a sense, what we’re exploring are these new formats for architecture ‘in an expanded field’.

(We are hosting a topic session at the 99th ACSA Annual Conference next March in Montreal, entitled Architecture’s Expanded Territories, on many of these questions.)


[Icelink; Lateral Office]

mammoth: One theme that recurs frequently in The Infrastructural City is a certain pessimism about new infrastructures on the scale of California’s aqueducts or Los Angeles’ freeways. The primary factors that are pinpointed in being responsible for this are not a lack of architectural interest but deep structural issues: both economic — the current global malaise — and political — a combination of NIMBYism with legal gridlock. This might be described, broadly, as a crisis of “traditional infrastructure”.

Do you share this skepticism about the future of traditional infrastructures in North America? It seems to us that some of your recent work — thinking in particular of Farming Salton, but perhaps also the Emergent North research — could be partially construed (though you may disagree) as a response to this problem, in so far as it is an attempt to describe alternatives to “traditional infrastructure”, where infrastructure might retain its capacity to generate and guide the growth of human settlement patterns, but also become more flexible, more distributed, less mono-functional.

White: We certainly share that pessimism, and much of this came up in a panel session with Kazys earlier this summer as part of the series of discussions on “networked publics.” The discussion led to several questions that we are often preoccupied with: what scale(s) does infrastructure operate at, what does infrastructure respond to, and what form might it take? And we are quite partial to the position of infrastructure as soft, scalable, and market-responsive. And, yes, that is a critique of “traditional infrastructure,” which is hard, big, and a product of its market-time.

Infrastructure should also be entrepreneurial — something that both the Salton Sea project demonstrates and our ongoing work in the Canadian Arctic will seek. The combination of public and private investment is an emerging market (of which the PPIAF is an interesting real-world precedent). But we also share a degree of skepticism about infrastructure as a catch-all realm of practice. The term has increasingly expanded to stand-in for any architecture serving as a process or a system — and this mirrors the post-economic collapse return to function after the heady days of exuberant cultural projects. The attention that infrastructure is getting is further evidence of a shift to processes over objects. Though maybe what we are seeing and how we are positioning our work, is not an abandonment of architecture or a naive fascination with infrastructure so much as a renewed interest in an emergent territory of practice that is between these. We are finding that many of the questions that architecture could be asking are being picked up by others. Architecture is slow.

Through the research at InfraNet Lab, with colleagues Maya Przybylski and Neeraj Bhatia, we are trying to position and qualify our understanding and forecasting of architecture’s potential as influenced by and integrated with infrastructure. Maya brings an interest in computational infrastructure, and Neeraj an interest in social infrastructure. The Lab gives us a space to intersect these interests. Much of this position will be evident in Pamphlet Architecture #30 and the first issue of our collaborative journal with Archinect called Bracket.

We were asked recently if we were a “trans-disciplinary practice,” and although it would be convenient to say yes–and likely with much evidence in the work–I think our preferred answer is that we are anti-disciplinary … or maybe un-disciplinary. The only time I would say being undisciplined is intentional and productive.

mammoth: This contention that “infrastructure should be entrepreneurial” is intriguing — both in and of itself, and also because arguments for a renewed commitment to infrastructure (whether general, like Krugman’s recent op-ed in the New York Times, or specifically architectural, like Nancy Levinson’s editorial piece for Places) so often are explicitly arguments for public work over and against private work.

That said, it’s an assertion that we are broadly in agreement with.

Part of the in-and-of-itself interest is that ‘entrepreneurial’ implies an evaluation of performance — process, not just object, as you noted. This is true of much infrastructural design generally: you need to be able to simulate performance (of economies, or hydrologies, or traffic flows, or structure), and simulating performance is a much bigger component of the design process that it would be for a more ‘typical’ architectural project (like a house).

So maybe the interesting question that arises then is — particularly in a research-oriented context like your work on Salton or the Canadian Arctic — how do we test the validity of the entrepreneurial qualities of our proposals? Do you have a particular example of how the development of entrepreneurial qualities (or some other objective tangentially related to a project’s explicit function or performance) fed back into the design process as a whole in a given project?

Sheppard: It’s interesting — this question of how does one evaluate performance. In most cases the economic and ecologic proposals we are leveraging are common, even proven models, such as job creation or remediation. Maybe what makes them unique for us is that they can be positioned in tandem rather than as oppositions.

Large infrastructure projects, such as those of the WPA 1.0, created jobs during their construction that ceased once the projects were built. (Although one could argue that long-term benefits were skills training, and the creation of large arts and literacy projects.) The TVA (Tennessee Valley Authority) is perhaps the more interesting model. It too was a major employer during the depression, on the construction phase of projects. However, it continues its relevance today through economic development, job creation, education, and research. Rather than simply providing an energy resource, its role is more diverse, tentacular and long-term.

In the example of the Salton Sea, there are existing (engineered) proposals that are coming with price tags of over $8.9 billion, with an additional $140 million each year. And this is largely to maintain a status quo, and prevent further decline. Something is going to be built there, and the question is what does the public get in return for that bill? In our proposal for a project that could be built incrementally, the intention is to engage a different thinking about investment. But more importantly, the project seeks to generate ongoing economic benefits, through new industries that might dovetail into the infrastructure, and through restored ecologies that in turn reinvigorate recreation and tourism (once the lifeblood of the region). The intention is that entrepreneurial economic returns have a much longer life.

In a project such as the augmented Ice Roads (near Yellowknife, Canada), our criticism is that the engineered ice roads have a short operational season and serve one use for an average of 67 days a year. We’re asking how can one extend the operating season, stimulate the ecology (through fish hatcheries), and aggregate other programs — in this case recreational fishing and adventure camping — to generate increased returns.

In all these projects, the underlying question is how might design address the integration of these various operations.


[Project map (top) and augmented ice roads (bottom), from Emergent North; Lateral Office/InfraNet Lab]

mammoth: We very much like this idea, that explicitly describing the various tangential economic benefits of a proposed infrastructure becomes a part of the design itself — rather than, as is probably too often the case, being seen as something that is extrinsic to the work of design. A close parallel to this might be the research of Roger Sherman, whose chapter in The Infrastructural City (“Count(ing) on Change”) seeks to demonstrate that the negotiations required for the implementation of a project not only do not necessarily detract from the project, but can often be a productive enterprise leading to otherwise unforeseeable solutions. In both cases — you, integrating and aggregating programs, particularly economic; Roger Sherman, exploring the possibilities produced by processes of negotiation — something which is often thought of as prior to and even antagonistic towards the process of design is wrapped into design, enriching it.

In a recent interview at Places, the landscape architects Anuradha Mathur and Dilip da Cunha were asked to describe their model of practice, which they have referred to as “activist practice”. For them, this means that, rather than pursuing clients and commissions, they have sought to do projects — often taking the form of publications and exhibitions — which question cultural understandings of landscape, which provoke questions. They break “conceptual ground”, rather than physical ground. This idea — that practicing landscape architecture or architecture means much more than just building buildings or planting landscapes, as obviously important as those things are — is not new, but it does often seem to be perennially lost in the distinction that is made between “real” and “paper” architecture.

One kind of “conceptual ground” that Lateral is explicitly engaged in breaking is this work of developing an “expanded field” for architecture, which would obviously include the sort of additions to the process of design that we’ve been discussing. But, more broadly — yet thinking specifically of things architects do — what does “practicing architecture” mean to Lateral? Since we’ve already been dancing around this question (and phrased that way, it’s perhaps a bit broad), perhaps one way to think about this might be to tell us about what you think or hope the future might hold for Lateral.

White: We are not very good at forecasting in the mirror, but I can say that the combination of writing, research and design has helped to chart our thinking within the field. As for how this might define a practice, we are willing to let this take place naturally as and when opportunities arise. But I think we are ultimately interested in reformatting an architectural practice – we aspire to the design of ideas and idea of design, though we don’t think this precludes building. However, we have turned down the model of a boutique practice in order to pursue projects in the public realm from the outset, rather than ‘graduate’ into that kind of work.

As for your comment on the expanded field, architecture will continue to oscillate between bouts of autonomy and transdiciplinarity for some time. This has been evident in the last decade or so, and we have made our allegiances to transdisciplinarity apparent. But as this debate has swung internally, there continues to be a lack of practices and design strategists that have staked a claim at the seams of where architecture meets environment. This is where we would align ourselves (and Bracket has become a useful venue for curating practices and thinkers within that position).

And just to qualify a bit, we don’t see ourselves as (nor would we want to be) economists or ecologists. We prefer being architectural strategists – only we sometimes radiate outside traditional notions of the profession to more fully understand a context or a condition. And in that process, we don’t limit ourselves to a superficial treatment of the subject.

To return back to your reading, we are certainly sympathetic to Roger Sherman’s criticism of planning’s inability to respond to certain urban change, his call for architects to assume risk, and the power of entrepreneurial local anomalies to catalyze successive development. And being sympathetic to design incorporating new models of planning, we share his claim that “design strategy operates hand-in-hand with a business plan” (from Sherman and Dana Cuff’s forthcoming Fast-Forward Urbanism). For us, this is the difference between operating tactically and operating strategically. We like chess player Savielly Tartakover’s saying that “tactics is knowing what to do when there is something to do. Strategy is knowing what to do when there is nothing to do.” This ‘nothing to do’ can be interpreted as either 1) seemingly nothing possible to do; or 2) seemingly nothing needed to do. Both interpretations necessitate a more expanded understanding of the brief or context that precedes architecture. We prefer working when there is nothing to do.