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Architecture

“Architects Are Bad at Business:” Here’s Why and What We Can Do About It

By Zarkon Group,07/08/2023

Evelyn Lee is the Head of Workplace Strategy and Innovation at Slack Technologies, founder of Practice of Architecture, and co-host of the podcast, Practice Disrupted. She will serve as the 101st President of the AIA in 2025.

Every architecture and design firm is a business first. It’s easy to forget while celebrating our design awards and the stories of our contributions to the communities where we live, work and play. But to pursue the work that brings us so much joy, it is, first and foremost, essential to have a profitable and agile business that continues to adapt to the changing nature of the economy.

Architects aren’t necessarily known for being good at business or even enjoying having conversations on business operations. We would rather spend our time talking about the projects, the impact of the design, the materials that went into them, and the changes made within the project delivery process to make it so successful.

But the phrase, “Architects are bad at business,” has become a crutch, if not an excuse, to continue to be bad at business and avoid the conversation altogether.

So why are we this way?

OrfiSera by YERCE ARCHITECTURE

Architects are often more focused on the creative aspects of their work rather than business ones.

The problem with focusing only on creativity often means losing focus on things like project management. This means we spend so much time focused on only one aspect of the business, but businesses are systems, and every aspect of the system needs attention to be successful.

Architects are not trained in business practices.

Anyone who went through an accredited degree program could tell you that the one-hour seminar on professional practice taught students more about avoiding lawsuits while practicing than it did about running a business effectively. And even if it was the class was more broadly focused, there’s too much to learn in a single class to be effective.

What’s more, the ongoing education of individuals, once in practice, is often more focused on project work and does not extend beyond that.

Architects are often reluctant to change.

In today’s rapidly changing business environment, it is more important than ever for businesses to be agile. Agility is the ability to adapt quickly to change, and it is essential for businesses that want to stay ahead of the competition (especially the growing competition coming from outside the profession). However, architects, no matter how innovative we are with our projects, are otherwise stuck in our ways and resistant to change.

Good business operations require continuous improvement, and it not only takes a change mindset but a commitment of resources, both time and money, to examine what is and isn’t working.

OrfiSera by YERCE ARCHITECTURE

Architects are not good at selling their services.

How often have you heard an architect say, “The work speaks for itself.” Sure, there was a time when architects were discouraged from advertising their services (from the late 1800s to the early 1960s), but even with advertising being off the table, there are many different ways to sell services that most architects are not using.

Architects don’t like to ask for help.

While it’s easy for us to be good at what we are good at, it’s often harder for us to realize what we are not good at and, more importantly, to not stand in the way of letting other experts do their thing. I don’t know how often I’ve heard an architect say about a business operations consultant, “They just don’t understand what we do and how we do it.”

In many ways, we make ourselves out to be so unique that we get it in our heads that no one else can understand what it is we do and how we do it. We then put it on ourselves to do everything, and in essence, nothing more gets accomplished.

OrfiSera by YERCE ARCHITECTURE

So what can better business operations do for our architecture and design firms? There are many benefits, including:

Better communication and collaboration: Well-designed business operations can improve communication and collaboration within an architecture or design firm. This can lead to faster decision-making, better problem-solving and more efficient use of resources.
Streamlined processes: By streamlining processes, firms can reduce the amount of time and effort it takes to complete tasks. This can lead to increased efficiency and productivity.
Automated tasks: By automating tasks, firms can free up their staff to focus on more strategic and creative work. This can lead to increased efficiency and profitability.
Better use of technology: By using technology effectively, firms can improve their efficiency and productivity. This can include using project management software, cloud-based collaboration tools, and other technology solutions.
A focus on continuous improvement: By focusing on continuous improvement, firms can identify and implement changes that will make their business more efficient. This can lead to a sustainable competitive advantage.

In addition to the benefits above, better business operations can also help architecture and design firms to:

Attract and retain top talent
Increase customer satisfaction
Improve profitability
Expand into new markets

OrfiSera by YERCE ARCHITECTURE

Design thinking has taken hold in many different areas, and architects often share their desire to own the space. I think there’s an opportunity to raise our value there, but to showcase what we can do, we first have to start with what we can do within our firms.

Stay tuned for our upcoming articles offering specific guidance and steps to design and implement better business operations.

In the meantime, we encourage you to download Practice of Architect’s Agile Practice Resource. This free living resource is designed to equip you with the knowledge and tools necessary to bring more agility to your practice.

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletters.

Reference

Architecture

Liquid City: A Radical New Masterplan in Rotterdam Embraces the River for Resilience

By Zarkon Group,03/08/2023

Architizer is thrilled to announce the winners of the 11th Annual A+Awards! Interested in participating next season? Sign up for key information about the 12th Annual A+Awards, set to launch this fall.

Popular with hip foodies and craft beer lovers, Fenix Food Factory’s generous outdoor seating area overlooks Rijnhaven. An old industrial harbor, over decades, it has seen shipping disappear under the boot of urban development.

After docklands moved west towards, and now into, the North Sea, a new district has sprung up in this corner of Rotterdam, extending the city center. Shops, residential blocks, floating structures housing offices and hospitality have replaced redundant warehouses and cranes.

The stunning Hotel New York overlooks all of this new development. The iconic building dates to the late-19th century, when it housed Holland America’s headquarters. The ocean liner route to Hoboken, New Jersey, carried close to 500,000 passengers from mainland Europe in its first twenty-five years of operation, and some will be immortalized when the FENIX Museum of Migration opens in 2024.

At the closed end of the quay, early signs of Rijnhavenpark are materializing — if you know what to look for. A large section of the harbor is cordoned off with buoys, and machinery has arrived to start the mammoth task of filling in one-third of the basin to create a huge public park, partly built on dry land, part floating on water, connected by walkways. The scheme is just one of several remarkable undertakings by the municipality of Rotterdam, transforming how the city interacts with its riverfront.

Rijnhaven, Rotterdam by Ossip van Duivenbode/Rotterdam Partners

Artist’s impression of Rijnhavenpark by City Projects/Rotterdam Partners

A delta town, the surrounding region of the Netherlands is home to the huge Rhine-Meuse-Scheldt delta, and has seen vast amounts spent on flood defences as a result. Known as Delta Works, modern protective infrastructure first broke ground in 1954 and construction only finished around 1997. Rotterdam’s Maeslantkering was one of the final pieces in a jigsaw of sluices, locks and dams. An enormous floodgate that took six years to build, it remains one of the planet’s largest moving structures.

A new masterplan comprising a series of large scale City Projects for central Rotterdam, many of which actively embrace the river itself, serves as a clear reminder of how vulnerable a city is when large parts lie below sea level — however, it also serves as a source of inspiration for design ingenuity. This scheme includes planting flora at different tidal levels, meaning that green spaces change with the time of day and actively supporting aquatic life, mammals and birds in the process.

In total, eight sites have been approved, but the initial series could be the start of something far bigger — a vast ‘central park’ running down both river banks. This vision was creatively displayed on the inside of a disused shipping barge during June’s Rotterdam Architecture Month for the Liquid City exhibition. Should that ever materialize, the network of green waterfronts would line downtown and a good chunk of the former docklands that made up Europe’s largest port.

Interconnected green spaces are shown on the banks of the Meuse at Rotterdam Architecture Month by Martin Guttridge-Hewitt

“Four and a half years ago the decision was made that we need more green, and a lot more. Not just around the Meuse, but everywhere. Of course you can’t do it everywhere. So we were told there would be eight locations in the city centre, and to go away, do some homework quickly as possible, and present a study, with numbers for what it might cost,” explains Emiel Arends, urban planning specialist on City Projects who also works as part of Rotterdam’s climate adaptation programme, WeerWoord [Weatherwise]. “We only had four months to prepare, pitched it, they said OK, here’s €350 million ($387 million), go make it happen as soon as possible.”

In addition to riverside sites, City Projects also include the elevated Hofbogenpark, a narrow 1 mile (2 kilometer) micro-intervention on a former railway viaduct, and Hofplein, where urban greening will transform an already-busy square. Arends’ colleague, Pieter de Greef, senior planner and a key architect of the river-as-park masterplan, says the biggest challenge is Nelson Mendelapark. In partnership with US waterfront specialist SWA/Balsley, work has begun on an area the size of ten soccer fields at Maashaven harbour. Once complete, this will comprise hills, trees, lawns, an event space, and various tidal features, including a pathway designed to help people understand the river’s natural flow and ecosystem.

City Projects Rotterdam Nelson Mandelapark

Artists impression of Nelson Mandelapark by SWA/Balsley

“If you want square meters, Tidal Park Feyenoord is bigger. But that’s all about biodiversity, greening rivers, giving nature new places in the city… it’s not for picnics and other activities,” says de Greef of the largest approved City Projects development. “Mandelapark is much more mixed. There’s a lot of social housing around there, which is good but they do not have many balconies or public spaces. The streets are narrow, filled with asphalt and stones. This project gives 16,000 households a large green space within 10 minutes walk.”

Unsurprisingly, considering the neighborhood’s urgent needs, de Greef says the most significant achievement with Nelson Mandelapark has been keeping all available land public. Other schemes in City Projects have integrated private interests to help finance. For example, at Rijnhavenpark three large residential blocks will deliver 4,500 homes, bringing in revenue to realise the vision. Elsewhere, water companies support schemes where green-blue infrastructure can ease pressure on overloaded drainage systems.

“Each part of the City Projects has a slightly different focus,” says Arends. “So within the inner city, on the north side, a little bit further away from the river, it’s about water storage and heat reduction. Tidal Park Feyenoord is all about biodiversity, but you can walk there as well. There are actions specific to each of the parks. It’s an insane programme. I’ve never seen this before, in any city.”

Hero Image: Rotterdam’s Maeslantkering flood defences by Guido Pijper / Rotterdam Partners

Reference

The Mobile Joy-city Community Commerce Beijing, China_MAT Office

Architecture

Dense and Sensibility: How Architects Can Help Shape More Sustainable Cities

By Zarkon Group,26/07/2023

How can cities have high urban standards and improve residents’ quality of life? As history has demonstrated, if the choices and strategies to achieve positive results are appropriate, the outcome delivers inclusive, safe, resilient and sustainable cities; if wrong, the outcome is devastating, forcing cities to face challenges such as pollution, high energy consumption, insufficient affordable housing, inequalities and health risks, among many others.

Architecture must generate urban quality and environmental sustainability while reflecting the cultural heritage and empowering residents. The growing process of cities leads to transformations, and such transformations need to be associated with sustainable models to improve the social, economic and environmental conditions of cities, ensuring the quality of life of current and future residents.

The Mobile Joy-city in Jingxi Xiangyun, Beijing, China, offers creative solutions for a community plan that integrates work, home, shopping, transportation and green spaces. The design focuses on three design concepts: “open archipelago concept”, “landscape urban place”, and “community space shaping.” Design and images by MAT Office.

Architecture as a Contributor to the Sustainable Growth of Cities

Architecture can incorporate social and environmental factors as a core part of its design strategy and contribute to cities’ goals as centers of economic growth, culture and innovation, which will translate into improved quality of life. Understanding architecture as an isolated discipline aimed at creating buildings uniquely might lead to a lack of cohesion and functionality. On the other hand, if we see it as one in dialog with other urban domains, such as landscape design and transit, we can build urban areas that are accessible, livable and affordable, ensuring that cities are engines of sustainable economic growth.

Alárò City_Skidmore, Owings & Merrill (SOM)

SOM‘s master plan for Alárò City lies in the growth path of Lagos, one of Africa’s fastest-growing cities with a population of over twenty million. Alárò City reinforces Lagos as the economic and cultural center in West Africa through a new sustainable community. The master plan highlights the site’s unique conditions enabling long-term resiliency. Design and renderings by SOM.

Co-Living, Transit-Oriented Developments and Sustainability

The examples of projects illustrated below show how different cities address their growth challenges through a mixture of spaces, functions and services that are accessible to the population. Each responds to the specifics of their economic, social and environmental situation differently but with a common goal: achieve quality of life and efficiency.

These examples are mixed-use developments that integrate housing, retail and community spaces to promote urban connectivity and social inclusion while making cities safer for pedestrians, motorized vehicles, and bicycles. Most of them feature an architecture that incorporates green strategies aiming at minimizing environmental impact.

Super Babylon is conceived as a co-living community. The concept prioritizes sustainable living and shared communal spaces while giving privacy equal due. Design and renderings by MAT Office.

MAT Office proposes a series of linked transformable structures inspired by the New Babylon, a megastructure that Dutch visual artist and Situationist Constant Nieuwenhuys developed a half-century ago. MAT Office‘s Super Babylon is a modular structure composed of units that can generate four types of spatial and social relations: individual basic units, small family spaces, communal spaces and collective community buildings with access to commercial spaces at ground level. Following the shared community — or, co-living — model, New Babylon attracts a diverse population of young professionals, retirees, singles, and families, all working together to create a lifestyle that reflects their shared core values.

Periferico 2008 is a residential high-rise with public amenities on the ground floor and a rooftop terrace with panoramic views. Project by BRAG Arquitectos. Image by Felix Fernández.

Periferico 2008 is a multi-unit residential tower close to San Angel, a neighborhood south of Mexico City known for its colonial history, monuments and religious architecture. The abundant greenery in the area set the tone for Periferico’s design: a thirty-story tall parallelepiped with two carved-out sections to make room for green terraces. The building’s 184 apartments — with areas ranging from 700 to 2,690 square feet (65 to 250 square meters) — feature spacious layouts and optimal orientations to maximize views and optimize natural lighting and ventilation. The ground floor amenities include a gym, swimming pool, spa, business center, playroom, library, and a movie theater. The rooftop terrace offers opportunities for relaxation and entertaining with views of the city and beyond.

Connecting Cooksville_SvN Architects + Planners

Connecting Cooksville in Mississauga, Ontario, Canada is a development project that offers many connections for pedestrians and vehicles, highlighting opportunities to prioritize the human scale and overall urban connectivity. Design and renderings by SvN Architects + Planners.

SvN‘s design for Connecting Cooksville is a vision for an integrated transit-oriented development in Mississauga, one of Canada’s fastest-growing cities. The project will transform a site dominated by surface parking into an interconnected, transit-oriented, mixed-use development with interior streets and a regenerative landscape. At nearly 1.7 million square feet (157, 900 square meters) , the development will provide nearly 2,200 new apartment units and close to 100,000 square feet (9,290 square meters) of commercial space, including a community gathering space covering almost half of the site.

Walking trails, outdoor kitchens, classrooms, cafe seating, areas for recreation, exercise and outdoor daycare play zones provide additional ground-level programming. SvN, in collaboration with WHY Architecture Workshop, designed an urban forest as part of the development, which prioritizes climate resiliency by strategically designing the cluster of towers and the landscape responding to the City of Mississauga’s Climate Action and Strategic Plans.

Quayside in Toronto, Canada, is conceived as an electrically powered, zero-carbon community where residents will have easy access to their daily needs, including jobs, education, healthcare, food, and recreation. Design and renderings by Norm Li.

Quayside is a mix of market-rate and affordable housing in Toronto for individuals and families of different backgrounds and incomes. A total of six buildings, including Canada’s largest mass-timber residential building, will also provide commercial and institutional spaces, as well as access to a three-and-a-half-acre public space. Additionally, a one-acre urban farm on the rooftop of the mass-timber building will be accessible to residents and the public. The project was conceived with sustainability in mind resulting in an all-electrically powered, zero-carbon community. The use of environmentally friendly materials and technologies will promote biodiversity and create comfortable and accessible green spaces, which will reduce greenhouse gas emissions and contribute to the efficient management of severe weather risks.

Aiming for Sustainable and Livable Cities

The creation of high-density buildings offering easy access to daily needs and the use of sustainable building solutions can be considered good examples of how architecture can bring social and environmental change. City growth is inevitable but manageable with the right tools and the right decisions. The prominent role of the architectural community in envisioning and designing cities demonstrates that it can be beneficial to the betterment of citizens’ quality of life, social equity, health and the environment. Healthier places — no matter what their functions are — will result in healthier people, communities and cities.

Reference

Aerial views of roof terraces. Photo by CHUTTERSNAP via Unsplash

Architecture

Is Demand Set to Grow for Architects Specialized in Green Roof Design and Renovation?

By Zarkon Group,12/07/2023

Rooftops have traditionally been the domain of mechanical equipment, line-drying laundry and the occasional playground for kids. Panoramic views and good weather make the perfect setting for sunset drinks (bars, restaurants and hotels got it right!), but expansive areas of residential building rooftops remain underused around the world. These spaces are waiting to be transformed into pleasant outdoor environments — and not necessarily for lucrative purposes. The benefits of transforming rooftops extend not only to residents but to entire cities at large.

Roof terraces aerial view. Photo by CHUTTERSNAP via Unsplash.

In densely populated areas where scant land is available, underused roofs offer the opportunity to expand green urban areas, promoting urban biodiversity, improving the well-being of city dwellers and reducing negative environmental impact. With green roof technology, rooftops no longer accumulate heat during the day, creating the so-dreaded heat island effect. Instead, they retain rainwater and capture CO2 and pollutants. Turning rooftops into pleasant outdoor spaces accessible to building residents is an effective use of otherwise wasted built space and offers the opportunity to replace lost habitats.

Improving the Quality of Life for City Dwellers

Architects, developers, builders, landscape architects/designers and product manufacturers are the ideal team to create cohesive, functional and sustainable buildings that improve city dwellers’ quality of life. Architectural examples worldwide demonstrate that the effort to counter the overpopulation of urban areas and the scant green spaces is global. They differ, however, in the architectural vocabulary, which, in each case, facilitates the integration of buildings into their specific context, taking into account cultural, climatic and economic factors.

90-unit housing development in Saint-Ouen, France, by Atelier du Pont. Photo by Takuji Shimmura.

Take, for example, Atelier du Pont 90-unit mixed-use building in Saint-Ouen, near Paris, France, which draws inspiration from the city’s industrial heritage. The project offers private open spaces at various levels and a shared community garden, a gathering spot for the building’s residents.

The building’s overall massing of staggered concrete “boxes” maximizes natural daylight, while brightly colored metal balconies provide private outdoor spaces. On the sixth floor, a community garden offers open space for residents to grow their own organic vegetables and socialize. As open spaces in cities dwindle, rooftops and terraces open a world of opportunities.

Avalon Bay Urban Housing Landscape by Todd Rader + Amy Crews Architecture Landscape Architecture LLC, New York City, NY

Meanwhile, our next case study brings us to the New York City, where Todd Rader + Amy Crews designed the landscapes at Avalon Bowery Place in the heart of the concrete jungle, where scant land is available. The new landscapes root the project in the urban context and provide open space for the building’s residents and the neighborhood.

The project includes three landscapes at the ground level and two on building rooftops. While the ground-level landscapes unify the complex through visual connection and material selection, the roof terraces are physically isolated landscapes in the sky, where they enjoy sunny exposure and participate in the aerial archipelago formed by the landscape of city rooftops.

Nieuw Bergen development in Eindhoven, The Netherlands

Nieuw Bergen by MVRDV, Eindhoven, The Netherlands

Finally, let’s take a look at The Nieuw Bergen — a multi-unit housing development in Eindhoven, the Netherlands. Its design responds to an urban strategy tool that the architects, MVRDV, have been developing and implementing in cities on the way to sustainable densification. This strategy establishes environmentally friendly and dynamic living conditions for residents. The sloped roofs maximize sunlight for the buildings and the public spaces at street level, resulting in significant energy savings. The diverse roofscape of solar panels and greenery complement the area’s architectural character of new and existing buildings.

So, given all of the clear urban benefits demonstrated by the private initiatives explored in these examples, what would it look like to implement green roof design at an urban scale? Well, one European city has already recognized the broader benefits of mandating this architectural upgrade and is exploring ways to provide impetus for designers to incorporate green roofs in their plans.

Barcelona Living Terrace Roofs and Green Roofs Initiative

Following the example of other European cities, Barcelona has been promoting environmentally conscious initiatives, offering sustainable solutions to reduce pollution and increase access to green areas (internationally, Barcelona’s popular superblock concept has received a lot of coverage). Now, the Living Roofs and Green Covers initiative highlights the social and environmental benefits of green roofs and, since 2017, has been the platform to launch the Green Roof Competitions to promote the creation of green rooftops in privately owned residential buildings.

Initiatives like this one are paramount to raising environmental awareness. According to the Guide to Living Terrace Roofs and Green Roofs published by the City of Barcelona in 2014, it is estimated that 67% of the surface area of roofs in Barcelona (1,764.4 hectares) could be landscaped. If this could ever be achieved, the temperature in the city would drop by approximately two degrees, the green area per resident would more than double and the levels of air pollution would be considerably lower.

The Expansion of the Green Roof Market

The surface area that city building roofs cover is vast, and the social and environmental benefits of greening these surfaces are considerable. Building owners invest in green roofs, designers dream up the plans, and city authorities play a major role in spreading the practice. Choosing between living in the suburbs close to nature and living in the city near work is no longer necessary. Building residents are looking for homes with outdoor access, especially since the pandemic.

Aware of the increasingly popular demand, the real estate industry sees multi-unit residential buildings with partially or entirely planted rooftops as an architectural trend that adapts to a contemporary lifestyle. But how fast is the green roof market expanding? Studies indicate that the global green roof market has been steadily growing at a rate of 17% since 2020 and is expected to grow at this same rate through 2027. Limitations for this growth? Unfavorable climate conditions and maintenance requirements.

Reference

Architecture

Sustainable Practice: How To Create a Concrete Oasis in a Forgotten Public Space

By Zarkon Group,05/07/2023

Now home to 1.4 billion people, India, the most populous nation on Earth, is under immense pressure across numerous socio-economic factors. This is rarely more evident than the challenge of developing urban areas in livable ways.

The United Nations predicts that by 2030 around 40% of the country will be living in cities, a four-fold increase on figures from the turn of the 20th century and significantly more than the 28% recorded in a 2001 census. An astounding rate of urbanization, according to a 2019 study by Manish Ramaiah and Ram Avtar, “Urban Green Spaces and Their Need In Cities of Rapidly Urbanizing India,” these booming centers of human activity are struggling when it comes to public realms and natural assets.

Looking across India’s densest cities with populations over one million, none offer more than 410 square feet (38 square meters) of green space per capita. In Mumbai, it’s less than 110 square feet (10 square meters). We tend to think about the introduction of parkland as a major undertaking that needs vast amounts of potentially profitable real estate to realize, but there’s much to be said about smaller interventions that reuse and rethink infrastructure to address the imbalance between built and living environment.

Promenade Plantée in Paris (C) La Citta Vita

Arguably the most famous example in recent memory is New York’s High Line. A 1.5 mile (2.5 kilometer) stretch of former elevated rail turned into a greenway, although actually modelled on Promenade Plantée in Paris, which opened 20 years earlier, the Big Apple take made the biggest noise and catalyzed similar ideas in other cities. From Atlanta and Los Angeles to Manchester, taking disused transportation routes and creating gardens or parks on them is now relatively commonplace.

Others — for example Toronto and San Francisco — have set out to place modern green spaces on the roof of in-service interchange hubs. Rather than looking up, Mumbai’s One Green Mile offers a narrow 1-mile-long (2-kilometer) public realm at ground level because the street offers one of few potential spaces in the locality. Winning the Jury Award for Built Sustainable Transport at this year’s Architizer A+Awards, the project is located partly beneath the flyover of a major commuter route and alongside a busy street.

Artwork, planting and public realms within One Green Mile, Mumbai, by StudioPOD

Efforts began with an analysis of existing conditions in the area, unsurprisingly concluding there was a severe shortage of open space. Stakeholder consultations also offered an insight into how interventions should and could be made. Three priorities were identified: streamlining traffic movement and street geometry, equitable allocation of space for all and the creation of high quality public realm beneath the road.

Designed by StudioPOD, and completed in 2022, the results are impressive. Play and seating areas, an amphitheatre, Vachanalaya and 130 trees now sit under the flyover. Vertical sections are painted with imagery reflecting the story of the Lower Parel district and have been extensively planted with native species.

Back out on the street, road capacity has been reduced to allow more room for people, to add greenery, open up space for bus stops and to lay street furniture in place. In total, 2.3 acres (1 hectare) of public space has been added to the area, with 21, 500 square feet (2,000 square meters) under the flyover alone. A route taken by more than 150,000 people each day, in the centre of Mumbai’s frantic financial district, has been not only improved but turned into a destination in itself.

One Green Mile public realm interventions

One Green Mile’s covered public realm, before the project began in 2018 and today, by StudioPOD

Countless studies have identified a strong link between access to urban space and health, not least in terms of green areas. Physically, we know exercise and active lifestyles keep our bodies in better condition, and One Green Mile clearly answers a call for active travel in Mumbai. But the benefits are also evident in terms of psychological wellbeing, too.

Earlier in 2023, Finish researchers presented one of the latest studies on this subject, concluding that visiting urban green space three or four times a week significantly reduces the likelihood of drug use to combat mental health, high blood pressure and respiratory illness. Rates fell by one third, asthma dropped by a quarter. This was true of parks and community gardens.

A children’s play area (top) and communal seating form part of Mumbai’s One Green Mile, by StudioPOD

Adding further evidence to the benefit of smaller interventions of this type, in 2019 University of Wollongong experts published a paper that showed a tree canopy alone can lower psychological distress by as much as 31%. It’s also important to consider the specifics of One Green Mile’s masterplan when gauging its success. Of course there are designated areas — the children’s playground is specifically for children to play — but much of the space is adaptable.

Sites of loose congregation, to some extent they reflect the public realms celebrated in the book Designing for Disorder. A conversation between architects Pablo Sendra and Richard Bennett responding to the former’s 1970 publication, The Uses Of Disorder, both texts and practitioners see static, planned and specific as negative public realm planning because they do not reflect human life, nor evolution. Truly worthwhile interventions must offer use cases that become apparent in the eye of the beholder ,or risk falling into neglect, effectively becoming another waste of space.

Reference

Architecture

Alberghi Diffusi: Architects Should Embrace Italy’s Decades-Old Design Concept

By Zarkon Group,14/06/2023

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletters.

Across the iridescent olive groves, vine-laden hills and skyline of sunflowers that intertwine to become the breathtaking Italian countryside, there lies a number of rural gems unblemished by modernity. Their façades bare the marks of many lives lived, and their cobblestone streets chatter with centuries of traditions and tales. While you venture through the quiet alleys, under clotheslines laden with laundry, you’ll find the remarkable concept of “alberghi diffusi” — Italy’s answer to sustainable tourism.

An idea that expertly juxtaposes the past with the present, marrying rustic charm with modern luxury, preserving heritage while showcasing rural sophistication. Here, amongst the charm and romanticism of rural Italy, hospitality takes on a different meaning: it’s not about visiting, it’s about belonging, and these “scattered hotels,” a constellation of repurposed dwellings, are the lifeblood of these otherwise semi-deserted hamlets. As more and more architects embrace adaptive reuse and renovation is increasingly celebrated as preferable to new-builds, Italy’s model for sustainable tourism is set to gain further traction beyond the Mediterranean country’s borders.

Santo Stefano di Sessanio Village, Abruzzo, L’Aquila, Italy. Photograph by Stefano Pellicciari

The albergo diffuso model is by no means a new concept. It was initially conceived in the late 1970s or early 1980s (an exact year cannot be pinpointed). Some attribute the model to the aftermath of the May 1976 earthquakes, when the idea was utilized to revitalize the impacted villages and was then later championed by Giancarlo Dall’Ara, a pioneering figure who is now-President of the Alberghi Diffusi National Association.

The philosophy of the albergi diffusi model is rooted in the notion that a hotel’s room should not have to be contained within a single structure but, in fact, can be spread throughout the houses and buildings of an entire town, and it is the service and amenities in the proximity to the room that establishes it as being part of a hotel.

Cividale del Friuli, Italy Photograph by milosk50

A “scattered hotel,” as it translates in English, creates visitor accommodation by reusing and restructuring existing properties, with one crucial factor — it must be located around an inhabited town center. It is the inhabitants of the albergo diffuso that serve as the draw for the guests that are so enthralled by these places in their search for authentic experiences.

In the heart of Friuli Venezia Giulia, the model found fertile ground in Comeglians, a village of approximately 400 inhabitants that became one of Italy’s first albergo diffuso’s. By the mid-1990s, under careful orchestration and with cooperation from the residents, a transformative project began to unfurl. A handful of the nearly 300 houses, left vacant after a decades-long exodus of youth searching for urban opportunities, were repurposed into an albergo diffuso. This revitalization not only safeguarded the village’s heritage but also reinvigorated the local economy by creating jobs and stimulating tourism that continues to thrive to this day.

Santo Stefano di Sessanio, Abruzzo, Italy. Photograph by Giulio Benzin

Meanwhile, down in the rugged terrain of Abruzzo, the town of Santo Stefano di Sessanio harbored a latent opportunity despite its population dwindling to under 100 by the late 1990s. Swedish-Italian entrepreneur Daniele Kihlgren, recognizing the town’s potential, made considerable investments to meticulously restore its ancient, stone-walled structures. The project, which converted 27 medieval buildings into 27 rooms of the Sextantio Albergo Diffuso, not only rekindled the town’s historic charm but also spawned a variety of jobs, reducing unemployment and re-populating this once-deserted gem.

Santa Caterina dello Lonio, Catanzaro, Calabria, Southern Italy. Photograph by Fabio

The tale took a southern twist in Sicily, where the historic borough of Borgo Santa Caterina witnessed a similar resurgence. Here, the alberghi diffusi’s model breathed new life into the town’s decaying structures, emblematic of diverse eras, including the Arab, Norman and Byzantine epochs. The regeneration of these architectural marvels into Albergo Diffuso Borgo Santa Caterina attracts a steady stream of tourists, bolstering the local economy and enhancing the livelihood of its residents, who had endured years of economic stagnation. These enduring transformations underscore the alberghi diffusi’s ability to fuse architectural preservation with socio-economic regeneration.

Corippo, Verzasca valley, Switzerland. Photograph by fotoember

The ripple effects of this ingenious model are palpable even beyond the Italian borders, in Switzerland’s Verzasca Valley, further underscoring its potential as a global blueprint for rural revitalization, in the Italian-speaking canton of Ticino, renowned for its emerald-green river flowing past miles of winding canyons, lofty peaks and forests. Corippo, a tiny 800-year-old hamlet of handcrafted stone homes, rises nearly 2,000 feet (610 meters) above the valley floor, and in June 2022, Corippo became the home of Switzerland’s first certified albergo diffuso. The lodging is part of a multiyear plan to preserve and revitalize the medieval village hit hard by depopulation, which follows the all-too-familiar story where its inhabitants have emigrated to other parts of the world in search of a better life.

Corippo’s new albergo diffuso consists of ten cozy rooms spanning five restored residences. Adjacent to the main piazza is a terraced osteria (restaurant) with sweeping canyon views that doubles as a lobby. Distinctive architectural details, such as original exteriors and dimensions, were preserved using local materials and traditional methods.

Labro, Rieti, Latium, Italy. Photograph by e55evu

Beyond Corippo’s historical significance and ideal landscape for outdoor activities, its appeal is its sense of solitude. Locarno’s promenade of boutiques, cafes, and Lugano’s art museums and galleries are a magnet to all who visit the secluded yet stunning secret.

Sauntering through these resilient, reborn hamlets, we can encounter an enduring testament to the power of sustainable innovation with the Alberghi Diffusi model. These scattered hotels are not merely establishments offering accommodation; they are a vibrant tapestry of community life, a profound immersion into authentic Italian culture and heritage.

Each albergo diffuso emerges as a phoenix from the ashes of urbanization and economic stagnation. They are the robust threads reconnecting frayed populations, providing gainful employment and a renewed sense of pride in the people of their historical legacy. In this innovative reinterpretation of hospitality, we find the courage of countless small towns standing tall against time, breathing new life into their narrative, heritage and future.

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletters.

Reference

Architecture

Sustainable Practice: An Inside Look at the Zero Waste Design for The Greenhouse Theatre

By Zarkon Group,11/06/2023

Necessity is the mother of invention, and it has plenty to answer for in design and architecture. This is immediately evident at The Greenhouse, a zero-waste theatre complete with performance space, standalone screening room, bar and box office

Visiting three prime spots in London this summer, the first run, at Royal Docks, was part of Sea Change, a cultural program about climate. Next, the space holds a residency at Canary Wharf, from 19th June until 14th July, before finishing at Battersea Power Station between 7th August and 3rd September. A striking, if understated, approach to experimental venue design, the venue is hand-built from recycled and reused materials. After revealing his background in site-specific productions, Artistic Director Oli Savage tells Architizer how the idea came about.

“Around 2016, a close friend, collaborator and colleague of mine put a script on my desk all about eco-terrorism, Swallows. It was a metaphor for violence towards each other and towards the planet by Henry Robert, a really talented writer. I’m interested in space and how a space can make the show work. And from a practice perspective, I’m interested in working holistically. To me, if you’re putting on a show, it’s important that everything around that show reflects the ideas of what that show is talking about. You’d feel a little hypocritical working on a climate piece and having lots of impact and waste,” says Savage.

The Greenhouse is the UK’s first zero waste theatre (C) The Greenhouse Theatre

“A couple of years later, we’re on the Royal Mile in Edinburgh for the Fringe Festival, our show was A Midsummer Night’s Dream. Standing in the pissing rain, handing out flyers to promote the performance, I said to our head of marketing: ‘Surely this isn’t actually a very effective way of getting people through the door’. She said: ‘No, and it causes a lot of waste.’ I started digging into this, and it’s astounding how much waste is created, most of which isn’t recyclable,” he continues. “This is particularly evident in fringe arts.”

With the script for Swallows still in mind, Savage began brainstorming with collaborators, trying to figure out how the show could run at the Edinburgh Fringe and stay true to its climate message. Soon realizing there was no existing facility that could tick all necessary boxes, a decision was made to create a new space. Returning to the Scottish capital twelve months on, The Greenhouse debuted in 2019 with Swallows finally staged and, as Savage puts it, “has been on and off” since.

The Greenhouse Theatre under construction in London, 2021 (C) The Greenhouse Theatre

“I just say to people come and see the space,” Savage replies when we ask about the green credentials. “I’d say it’s obvious when you’re inside — this is not making claims that can’t be backed up. In terms of design principles, we were determined to show the materials being using, so the waste is showcased front line for people to see for themselves. And we’re a zero waste theatre, that’s the terminology. There are differences between this and, say, carbon neutral. So all the materials had a life before us, and will hopefully have another life once we’re finished.

“Broadly, the whole thing is built from three materials. Timber framing and wood pallet cladding, around a triangular lighting truss skeleton. The roof is made from corrugated PVC,” he explains. “As you’re designing, you’ve got to be thinking, if we want this to be zero waste, what materials do we have access to? How are we going to be able to deliver this in a zero waste way. Another interesting thing was our first situation for the venue didn’t have the possibility of any power. So we came to this conclusion it needed to be naturally lit with a clear plastic roof. That’s now one of my favorite aspects of the venue.”

The Greenhouse Theatre at Canary Wharf, London (C) The Greenhouse Theatre

For Savage, The Greenhouse Theatre design is all about dialogue between different demands. The requirements stipulated by the project itself — zero waste, low impact — and the need to develop a space suitable for creative practice. Form meeting function deep in the grass roots.

“It was also a necessity for me that it was in the round. That was a big thing. If I’m working in a theatrical space, it has to be either in the round or traverse. It creates this sense of community,” says Savage, pointing out all this is replicable. “Reclaimed timber is easy to come by. There are lots of facilities around the UK, recycling centres that take surplus timber from sites, clean it, then sell it on. Most are charities, awesome organizations. The trussing was from a lady who used it for trade shows, retired and sold it to us for a really good price. The plastic, I think it was a builder who bought it for a project that was cancelled or over-ordered.”

“The headline is that it’s not that hard. It seems like it’s challenging, but so much theatre, at university for example, relies on borrowing and reuse,” he adds. “We have a consultancy, working with filmmakers, other theatre makers, creatives, to help them towards zero waste. There’s a lack of provision for fringe artists in terms of this type of thing. It’s tricky, though. One of the hardest things is a lot of people expect work for free… Obviously, my goal as a person is to have the most impact and help. But the reality is some try to take advantage… If we can’t monetize, I’m not going to have a business, and we’re not gonna be able to run.”

Reference

Architecture

What is a Design District and How Has Their Rise Transformed Our Cities

By Zarkon Group,08/06/2023

In the ever-evolving landscape of urban design, the emergence of design districts has become a defining characteristic of progressive cities worldwide. These vibrant enclaves, often juxtaposed against the backdrop of industrial relics or purposefully planned developments, have become catalysts for economic growth, creative collaboration and community engagement.

At its core, a design district is a concentrated area within a city that serves as a thriving hub for creative and design-focused activities. These are places where architects, designers, artists and entrepreneurs converge to showcase their talents, exchange ideas and create an immersive experience for visitors. The value of a design district extends beyond its aesthetic allure; it breathes life into the local economy and community, fostering economic growth, cultural enrichment and a sense of place.

Grand Bazaar of Istanbul by IV. Murat

Long before the rise of modern metropolises, ancient civilizations laid the foundation for what we now recognize as design districts. These neighborhoods of artisans and craftspeople played a crucial role in the cultural and economic fabric of their respective societies. The Agora of Athens was a bustling marketplace that served as a hub for artists, philosophers and traders. Within its grand colonnades and stoa, the Agora fostered the exchange of ideas, the birth of democracy and the creation of iconic architectural wonders like the Parthenon.

While across the Aegean Sea, the 61 covered streets and 4,000 shops that make up the Grand Bazaar of Istanbul traces its origins back to the 15th century. This labyrinthine marketplace encapsulated the rich heritage and diverse influences of the Ottoman Empire. Within its alleyways, artisans, jewelers and carpet weavers transformed the Bazaar into a beacon of trade, attracting visitors from far and wide and establishing Istanbul as a global exchange hub.

Since then, we have borne witness to the emergence of many design districts across every continent and over centuries of design movements, and it was the demise of the industrial era that may have resulted in the most significant growth of the “design district.” Following the Second World War, countless factories and warehouses were left empty, creating opportunities for revitalization and adaptive reuse.

Soho neighborhood, Lower Manhattan, New York by Rafael Sanchez Lopez/Wirestock Creators

Starting with SoHo in New York City of the 1960s, abandoned factories and warehouses became fertile ground for architectural reinvention across the world. Once-decaying cast iron structures have since been transformed with design districts emerging from the ashes of these forgotten structures, infusing new life into their once-decaying shells. More recently, in the heart of London, the vibrant community of Shoreditch has flourished within the remnants of its industrial past. Former factories have been imaginatively transformed into studios, galleries and creative workspaces, attracting a new generation of artists, designers and entrepreneurs.

Similarly, the Meatpacking District in New York City underwent a remarkable metamorphosis from a gritty industrial zone to a thriving hub of fashion, art, and design. Repurposing the neighborhood’s historic meatpacking warehouses, the district now teems with high-end boutiques, galleries and avant-garde restaurants, redefining the concept of urban cool.

In the modern era, design districts have become invaluable commodities to thriving cities and the creatives who inhabit them. They serve as vibrant cultural epicenters, nurturing collaboration and cross-pollination of ideas across disciplines. These districts attract designers, artists and entrepreneurs, fueling economic growth through increased tourism, job creation and consumer spending. Their impact transcends economic gains; design districts contribute to the cultural fabric of a city, hosting exhibitions, events and festivals that celebrate creativity and artistic expression.

Shoreditch Chimney By Dani

However, patience is not a characteristic often coveted in urban development in the modern age, and today design districts may not be gifted the same lengthy development time as their predecessors. Rather than coming into existence as a natural ecosystem of designers, artists and makers drawn to an area with cheap rent and little in the way of planning restrictions, design districts are now often shaped by the vision of architects who are tasked to create places that accommodate the needs of the creative community while appealing to the broader public. Architects embarking on the design of a design district face multifaceted challenges to create authentic experiences.

The synergy of function and aesthetics lies at the core of successful design district architecture. Striking a balance between iconic structures that inspire and functional spaces that accommodate diverse businesses and creative enterprises is paramount. Architects must navigate the delicate balance between creating visually striking environments and ensuring that these districts cater to the needs and aspirations of the creative community and local residents.

Flexibility and adaptability are key considerations when designing design districts. The ability to evolve with changing trends, technologies and creative practices is crucial for their long-term success. Modular and versatile design principles that allow for easy reconfiguration are essential for fostering an environment of continuous innovation and adaptation.

Greenwich Peninsula Low Carbon Energy Centre by C.F. Møller Architects, London, England, United Kingdom. Photo by Mark Hadden

Similarly, connectivity and accessibility play pivotal roles in the design of these districts. Careful planning of transportation networks, pedestrian-friendly spaces and digital infrastructure is required to ensure the communities are accessible and inclusive. By integrating design districts with the larger urban fabric, architects foster connections, diversity and interactions, nurturing a sense of community and place.

While purposeful planning and intentional programming are important aspects of design district creation, striking a delicate balance is paramount. Single programming can inadvertently inhibit the natural “ecosystem” of different proprietors, stifling the organic growth and diversity that defines traditional neighborhoods. Design districts should feel as though they have evolved naturally, allowing for the emergence of a rich ecosystem of creative ventures and businesses intermingled with places to eat, linger and take part in cultural events. Their restaurants and music venues often define design districts.

Burò Furniture by Mezzo Atelier, Milan, Italy

Purposely designing a design district is challenging, and caution should be taken against over-planning and segmenting a district into areas for function which can lead to districts failing to be vibrant homogenous neighborhoods and echoing shopping malls with an area to eat, a zone to shop, and a place to work. The Greenwich Peninsula in London has been criticized for this very reason. The purpose-built design district lacks the balance of function needed to meet the aspirations of the creative community and local residents, which is crucial for creating spaces that resonate with authenticity and a sense of belonging.

Successful design districts bear the imprints of visionary architects who have shaped these urban landscapes. Zona Tortona, Milan, Italy, was designed by a collective effort of visionary architects, including Fabio Novembre, Giulio Cappellini, and Piero Lissoni. Zona Tortona has become one of the most iconic design districts in the world and is renowned for its cutting-edge design, fashion and art events. The former industrial area now comprises sleek showrooms, galleries and creative venues. Zona Tortona’s success lies in its seamless integration of contemporary architecture and historic industrial structures, creating a captivating and vibrant atmosphere for visitors and design enthusiasts.

Poblenou, Barcelona, Spain by Pavel

In Barcelona, the Poblenou Design District started around twenty years ago, when artist collectives took over abandoned factories to work and host parties. Early adopters of Poblenou included the artist Antoni Miralda and Mariscal, creator of the legendary Palo Alto design studio. Although large swathes of the area still retain a gritty nature, the neighborhood is now dotted with warehouse conversions containing open-plan homes, galleries, coworking spaces and architects’ studios, making it the historic city’s creative heart.

The economic and cultural benefits of design districts are far-reaching. They attract diverse businesses, from galleries, studios and showrooms to boutiques, cafes and restaurants. The influx of visitors and tourists fuels economic growth, job creation, and increased consumer spending. Design districts become vibrant cultural epicenters, hosting exhibitions, workshops, and events that celebrate artistic expression, foster cultural exchange, and enhance the local community’s quality of life. And so, if you ever find yourself at the forefront of designing a design district, consider the marketplaces of ancient Athens, the revival of SoHo by the struggling artists of New York or the design geniuses of Barcelona and perhaps 500 years from now, your efforts will stand as a testament of great design as the streets of Grand Bazaar of Istanbul continue to do so to this day.

Top image: Ancient Agora of Athens in Greece by nejdetduzen

Reference

Architecture

Photovoltaics, Often Misunderstood as Visual Nuisances, Are Powerful Architectural Features

By Zarkon Group,31/05/2023

Judging for the 11th A+Awards is now underway! While awaiting the Winners, learn more about Architizer’s Vision Awards. The Main Entry Deadline on June 9th is fast approaching. Start your entry today >

The potential for making an architectural statement with solar PV panels, particularly in the form of a canopy, has been availed by architects for a while now. There is the often-photographed monumental solar canopy at the Parc del Fòrum in Barcelona, Spain, from way back in 2004. More recently, Gensler Architects have built an enormous hypostyle portico covered in solar panels at the Fifth + Tillery office in Austin, Texas. These sweeping expanses of glass and silicon on exposed latticework structures are naturally dramatic and expressive while providing a dappled shade or shelter from the rain.

Fifth + Tillery by Gensler, Austin, TX, United States

On residential houses, however, the pattern is to simply stick solar panels dumbly on the roof in any way they may fit. Newly built houses abound where exceptional care has been exercised over every detail and proportion, no expense spared on materials — except for the ill-shaped clump of solar panels laid out across the roof. It’s as if there is an unspoken agreement not to notice. But you can’t look away: there they are in full sun atop the house: ugly, unloved, visually jarring.

Renewable Energy Tartan

It’s a shame because solar canopies, awnings, eaves, and screens are an opportunity to add construction details and architectural rhythm that is inherent in the trellis-like structures supporting solar arrays. The cross-crossing supports of various thicknesses combined with a grid of individual solar cells naturally form a tartan plaid with layers of depth and visual interest. Although the panels can be mounted at any angle or even flat, the most efficient orientation is always a south-facing slant that can be a strong visual counterpoint to the normally rectilinear forms of a typical house.

Windkraft Simonsfeld, Lower Austria by Arch.

Ernstbrunn Windkraft by Architekturbüro Reinberg ZTGesmbH, Energiewende Platz, Korneuburg, Niederösterreich, Austria

Solar Photovoltaics Everywhere

Solar canopies can power a house and provide well-modulated shade at the poolside, or they can float over the house, shading the roof while adding visual interest to the façade, as in this application of solar panels on an office building façade, with the array jauntily tipped over the front of the building at a skew angle. Panels can be integrated as a carport roof, a door awning, an eave line, skylights, an atrium roof, windows, a deck railing, a brise-soleil, a screening element, or even a garden fence. So it’s a wonder that they almost always just get stuck on the roof in the most unsightly possible way.

A shade trellis is an often-used feature when designers want to make an attractive sheltered backyard space. When made of solar panels, it can not only provide modulated shade but also rain cover. But any surface that receives sunlight can, theoretically, be made into a solar electric collector. Yet, few to no examples of solar panels are being used for features like railings or screening elements in residential architecture.

A solar eave will provide the shadow line of a traditional eave and the opportunity to de-materialize the eave as it reaches its edge. Combining bi-facial panels with clear glass panels offers another opportunity for modulation.

Solar panel and glass canopy. Image by Charles via Pixabay

Lots of Choices

Manufacturers offer a wide variety of specialized solar panels just for solar roofs, canopies, and walls. Bi-facial panels that are glass on both faces are the most commonly used. These panels contain an array of dark silicon cells sandwiched between two sheets of glass. The silicon cells can be arranged at various spacing to adjust the amount of opaque versus clear area. Amorphous silicon glass panels present a uniform look without tiled silicon cells and can be made in various colored tints. Panels are also available in different sizes and form factors as well. Some panels can even be combined with windows and skylights. What if a building’s cladding material were entirely made of solar panels? More power to it! Added to the variety of panels is the variety of off-the-shelf mounting systems available, from minimalist to water-tight.

There is no excuse not to make solar photovoltaics part of the architecture. So, architects and designers, it’s time to embrace solar PV as part of the design and not just an unsightly piece of electrical equipment mounted on the most visible part of the house!

This article was written in collaboration with Californian architect Ian Ayers.

Reference

Architecture

A.I. Will Destroy Creativity – But Only If We Let It

By Zarkon Group,23/05/2023

For the 2023 Vision Awards, Architizer has divided the Best Architectural Visualization category into three sub-categories: Photorealistic, Illustrative/Artistic, and A.I. generated. This last one has predictably raised eyebrows.

On Facebook, a reader named Milena Tos asked how someone could possibly win an award for an image created by an A.I. program. “What is going to be the criteria?” Tos asked. “Who picked the best image from 50 images that Midjourney created in a few minutes?”

Their comment ended with a provocation: “An architect who writes a prompt does exactly what clients do – give ‘prompts’ to architects. Is Edgar Kaufmann an author of Fallingwater?”

The implication was clear – and haunting. The specter of A.I. threatens to make architects irrelevant, as it does with so many other professions. Maybe not today… maybe not tomorrow… but still, the ax looms. Why make A.I.’s takeover easier by validating its visuals with awards?

Prompt: “Midjourney as it imagines itself.” Created by Midjourney v. 4. Chikorita, CC BY-SA 4.0, via Wikimedia Commons

Our Editor-in-Chief Paul Keskeys mused a thoughtful response to Tos’s questions, noting first that generating a great prompt is not as simple as it looks, and second that great A.I. images are often the result of “refinements” within the A.I. program. They’re not, in other words, just the first thing the program spits out. The winning A.I. visualization for the 2023 Vision Awards will likely be one created under the guidance of a person with a real sense for architecture.

Still, Keskeys conceded that A.I. has lowered the barrier to entry for architectural thinking. “I don’t think everyone is going to become ‘the architect’ of their own houses overnight,” he said, “but these tools do make ideation accessible to a far greater number of people, so it will be intriguing to see where that takes us…”

I agree with Keskeys that it will be intriguing to watch how architecture and other creative disciplines evolve now that A.I. programs like Midjourney exist alongside more familiar digital tools. I applaud Architizer for including A.I. generated images in the Vision Awards, as this type of work deserves critical scrutiny and analysis. It is nothing if not relevant and should not be ignored.

Nevertheless — and I cannot stress this point strongly enough — I loathe A.I. and wish that it did not exist. I also don’t think it’s actually “intelligent” for reasons that have been discussed widely by other writers. (By “A.I” here I mean these new neural network programs with the uncanny ability to mimic human creative labor. I’m not talking about Google Search or the calculator).

I don’t think I am alone here. I suspect that many people feel an aversion to A.I. but are afraid to express it. They don’t want to be seen as a reactionary or a Luddite, like the 19th century painters who feared that their skill set would be replaced by photography.

It is understandable that people want to avoid taking an old fashioned position and subsequently being swept into the dustbin of history. But this hang up is preventing us from thinking clearly right now. It must be abandoned for two reasons.

Prompt: “White castle with a magenta roof, two gardens in the front yard and a golden statue in the middle of the front yard, 4k, Renaissance.” via Midjourney v. 4 Mhatopzz, Public domain, via Wikimedia Commons

First of all, an accurate reckoning with history must begin by acknowledging that the painters were correct. Painting today has nowhere near the commercial application that it did 150 years ago, and as a result fewer people are learning how to paint. A whole sphere of human creativity withered on the vine, just as predicted. Luckily, it was replaced by a new, equally rich creative medium. You or I might not lament the advent of photography, but it is easy to understand why people did so in the past. Technology really can transform how people live, think, and create.

The second reason is more significant. This has to do with what these neural networks essentially are, that is, the specific processes by which they generate these uncannily humanlike texts and images. Indeed, the more one learns about how A.I. works, the more ominous it seems. If it changes us, it seems that this change could not possibly be for the good.

A.I. is nothing like the camera. It is nothing like the printing press, the Internet or any of the other “disruptive” technologies it is often compared to. Unlike these technologies, A.I. is philosophically insidious. It does not simply change the means by which people create, but undermines the very foundations of creativity itself.

To understand why, let’s begin with the camera. What is a camera? The camera is a tool for documenting objects in the world. A photograph does not, of course, provide a clear window onto reality but, like a painting, presents a necessarily limited, curated perspective, that of the artist or artists. In this, photography is the same as every other artistic medium; it is an imperfect tool for representing reality objectively that, through its imperfections, allows the subjectivity of the artist to shine through.

What is a Large Language Model like Chat GPT or an Image Model like Midjourney? These are machines that boil down a vast amount of data drawn from the Internet in order to perceive statistical patterns. They then use these patterns to predict likely outputs for user generated prompts. In essence, they show you what they think you want to see based on averages. As the artist Hito Steyerl writes in “Mean Images,” her brilliant essay for The New Left Review, “They represent the norm by signaling the mean. They replace likeness with likeliness.”

Prompt Unkown. City landscape generated by Midjourney v. 4. Artist: Kent Madsen. via Wikimedia Commons

Whose subjectivity is expressed in a work generated by A.I.? In one sense all of ours — a hive mind. Like a vampire, the machine feeds on the labor of millions of faceless artists, stripping away everything that is unique about their work. Even if one tweaks the prompts to create outputs that appear novel, they are still “mean images,” or statistical representations of some kind of common denominator. At best, they are emissaries from the collective unconscious. At worst, they are stereotypes, and indeed Steyerl draws a connection between the way A.I. image generation works and the composite portraits created by eugenicist Francis Galton.

In the 1880s, Galton created images of racial “types” by superimposing hundreds of faces on top of each other, blurring out the details and leaving only the common denominators, the features that members of these racial groups had in common. That is to say he created racist caricatures but gave them the imprimatur of science.

It is not simply Galton’s aim we should deplore, but his method as well. There is an intrinsic violence in the process of generalization, which is the process of flattening difference to conform with ideological presuppositions. And this is how these A.I. programs work — this is what they do, fundamentally and by definition.

In a photograph or drawing, the thing itself inevitably escapes, often to the chagrin of the artist. However, in an A.I. rendering, the thing itself is not even a relevant reference point. What you are looking at is not an interpretative view of an object or an idea, but a model of patterns in the data. An A.I. visualization of a building may look like a digital rendering created by an artist, but categorically it is a very different type of object.

A.I. is not creative and it is not intelligent; it is just the newest method for packaging human labor in the mystifying form of a commodity. As I see it, the most immediate danger with A.I. is not that it will take our jobs, although for many this is a risk. It is that we will become too used to using these programs and interacting with their outputs. Little by little, we will begin to think like them. Data will replace thought as our most familiar model of reality, our window onto the world.

To loop back to our starting point, Architzer is right to include A.I. images in its Vision Awards. This is a new species of image that we, as a society, are going to have to learn how to live with whether we like it or not. But readers are also right to have their suspicions. While it might be futile to try to stop technology in its tracks, it is foolish to pretend that the outcomes of technological progress are always benign. They aren’t, and this is one of the most philosophically troubling innovations yet.

Cover image: Prompt: ” a low quality disposable camera fujifilm photo of a glowing female cyborg and glowing male cyborg standing motionless together staring into the camera dramatically in a 2000s nightclub, vintage rave lighting, motion blur” via Midjourney v4. Cameron Butler, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons

Reference

Stories

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Photovoltaics, Often Misunderstood as Visual Nuisances, Are Powerful Architectural Features

Renewable Energy Tartan

Solar Photovoltaics Everywhere

Lots of Choices

This article was written in collaboration with Californian architect Ian Ayers.

A.I. Will Destroy Creativity – But Only If We Let It

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