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<dc:date>2013-05-16T15:09:29+03:00</dc:date>
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<item rdf:about="http://www.cityofsound.com/blog/2013/05/announcing-sandbox-a-collaboration-between-berg-and-fabrica.html">
<title>Sketchbook: Announcing Sandbox, a collaboration between BERG and Fabrica</title>
<link>http://feedproxy.google.com/~r/cityofsound/JuiP/~3/G_0_ucqpxQY/announcing-sandbox-a-collaboration-between-berg-and-fabrica.html</link>
<description>You will have heard a lot about smart cities and the Internet of Things. What you won't have seen is that many genuine products, services and projects in those areas. You will, of course, as there is immense potential after...</description>
<content:encoded><![CDATA[<p>
<a class="asset-img-link" href="http://www.cityofsound.com/.a/6a00d83452a98069e2017eeb3c2e9a970d-pi" style="display: inline;"><img alt="BERG-Cloud-Twitter-#FLOCK-2" class="asset  asset-image at-xid-6a00d83452a98069e2017eeb3c2e9a970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017eeb3c2e9a970d-500wi" style="width: 470px;" title="BERG-Cloud-Twitter-#FLOCK-2" /></a></p>
<p>You will have heard a lot about <a href="http://en.wikipedia.org/wiki/Smart_city" target="_self">smart cities</a> and the <a href="http://en.wikipedia.org/wiki/Internet_of_Things" target="_self">Internet of Things</a>. What you won&#39;t have seen is that many genuine products, services and projects in those areas. You will, of course, as there is immense potential after all, but these ideas are clearly something we have a sense of, a hunch about, without the evidence to test it. It&#39;s a logical conclusion of a set of cultural and technological drivers, but then people, objects, experiences, buildings and cities are not logical, nor do they conclude.</p>
<p>Given this, <a href="http://berglondon.com/" target="_self">BERG</a> and <a href="http://fabrica.it/" target="_self">Fabrica</a> have been working together to create a condition where these ideas may be played out, in an open, transparent and legible way, and tested on real projects, in real spaces, with real people. Or as close as we can get to that, anyway. </p>
<p>And that&#39;s what we&#39;re announcing today. <strong>Sandbox</strong> is a collaboration between <strong><a href="http://berglondon.com/" target="_self">BERG</a></strong>—<em>and specifically the maker kits based on their BERG Cloud platform, as well as their general expertise and creativity in this area</em>—and <strong><a href="http://fabrica.it/" target="_self">Fabrica</a></strong>—<em>and specifically, our team of multi-disicplinary researchers and staff, our clients and collaborators, and our building and environment.</em> </p>
<p>At Fabrica, we are creating a campus-wide <a href="http://bergcloud.com/" target="_self">BERG Cloud</a> network across our extraordinary building, and will be working with BERG&#39;s dev boards (with which they <a href="http://www.dezeen.com/2013/05/02/flock-cuckoo-clock-by-berg-for-twitter/" target="_self">recently created Flock, for Twitter</a>) in situ and across client projects, as well doing workshops with BERG to understand their possibilities and collaboratively prototype them. Further, as BERG open up these kits and platforms to other organisations, we&#39;ll be getting together to share experiences and collaboratively produce using the platform. This is the beginning, then, of a global network of connected spaces, across schools, studios and research centres (Fabrica is a bit of all three of those) which becomes a community of makers, coders, designers and producers collaborating together to move this area forwards.</p>
<div class="photo-wrap photo-xid-6a00d83452a98069e201910234caf6970c" id="photo-xid-6a00d83452a98069e201910234caf6970c" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.cityofsound.com/.a/6a00d83452a98069e201910234caf6970c-pi"><img alt="A Fabrica interaction designer at work" class="asset  asset-image at-xid-6a00d83452a98069e201910234caf6970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e201910234caf6970c-500wi" style="width: 470px;" title="A Fabrica interaction designer at work" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e201910234caf6970c" id="caption-xid-6a00d83452a98069e201910234caf6970c">A Fabrica interaction designer at work<span style="font-size: medium;">&#0160;</span></div>
</div>
<p><a href="http://www.fabrica.it/news/jack-schulzes-lecture-fabrica" target="_self">Jack Schulze came to Fabrica</a> in December, as one of the first in our new series of lectures (more on that later) and he, I and <a href="http://berglondon.com/studio/matt-webb/" target="_self">Matt Webb</a> had been talking since about how we could make a project that tests BERG&#39;s &quot;dev boards&quot; in the wild, as it were, and how we could take research and development around connected things and spaces beyond Fabrica&#39;s interaction team into some of our other studios. I&#39;m interested in transdisciplinary, hybrid projects emerging at Fabrica—what happens when you throw a problem or opportunity at a studio comprising a coder, a graphic designer, an industrial designer, a journalist, a filmmaker, a musician, and external collaborators?—and think we might be uniquely placed to prototype interesting and valuable things as a result of our rich diversity of people, talents and cultures. Our recent <a href="http://vimeo.com/64574642" target="_self">COLORS News Machine</a> is an example of this approach to some extent, <a href="http://desktopmag.com.au/project-wall/make-the-news-with-the-colors-news-machine/#.UZTHHyv8_iE" target="_self">to</a> <a href="http://www.creativereview.co.uk/cr-blog/2013/april/colors-news-machine" target="_self">quite</a> <a href="http://www.designboom.com/technology/fabrica-the-news-machine-for-colors-magazine/" target="_self">some</a>&#0160;<a href="http://www.dezeen.com/2013/04/27/colors-news-machine-by-jonathan-chomko-fabrica/" target="_self">acclaim</a>, but we want to do more, across all fields.&#0160;</p>
<div class="photo-wrap photo-xid-6a00d83452a98069e201910234d543970c" id="photo-xid-6a00d83452a98069e201910234d543970c" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.cityofsound.com/.a/6a00d83452a98069e201910234d543970c-pi"><img alt="Fabricat on News Machine" class="asset  asset-image at-xid-6a00d83452a98069e201910234d543970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e201910234d543970c-500wi" style="width: 470px;" title="Fabricat on News Machine" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e201910234d543970c" id="caption-xid-6a00d83452a98069e201910234d543970c">Fabricat on News Machine</div>
</div>
<p>But we needed a platform that simplified that process, that made it relatively easy to connect things with internet, that had focused on the software side (all that messy account and &quot;fleet&quot; management) as well as the hardware side, that was road-tested yet could be developed in collaboration, and that had smart, engaged people behind it that we could work with (you can read my views on why I&#39;m interested in the way BERG works in <a href="http://www.domusweb.it/en/design/2013/02/04/little-printer-a-portrait-in-the-nude.html" target="_self">the Little Printer piece I wrote for Domus</a>.) (BERG&#39;s Andy Huntingdon (<a href="http://www.youtube.com/watch?v=Haq4oP3B4rE&amp;feature=youtu.be" target="_self">seen in the Flock video</a>!) is ex-Fabrica, so there&#39;s another nice connection too.)</p>
<div class="photo-wrap photo-xid-6a00d83452a98069e201901c3ebfc8970b" id="photo-xid-6a00d83452a98069e201901c3ebfc8970b" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.cityofsound.com/.a/6a00d83452a98069e201901c3ebfc8970b-pi"><img alt="Inside Flock" class="asset  asset-image at-xid-6a00d83452a98069e201901c3ebfc8970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e201901c3ebfc8970b-500wi" style="width: 470px;" title="Inside Flock" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e201901c3ebfc8970b" id="caption-xid-6a00d83452a98069e201901c3ebfc8970b">Inside Flock</div>
</div>
<p><a href="http://bergcloud.com/littleprinter/" target="_self">Little Printer</a> is also a clear proof of concept of BERG Cloud, all the way to successful product. That helps massively, in a world where people tend to build the platform before the things that platforms produce. To do both at the same time, each influenced by the other, is more useful. (By the way, I haven&#39;t mentioned here, but we made a Little Printer feed for <a href="http://colorsmagazine.com/" target="_self">COLORS magazine</a> several months ago. If you have a Little Printer, <a href="http://remote.bergcloud.com/publications/86" target="_self">you can subscribe to COLORS Yellow Pages here</a>.)</p>
<p><iframe frameborder="0" height="264" src="http://player.vimeo.com/video/60916492?byline=0&amp;portrait=0" width="470"></iframe></p>
<p>It&#39;s not easy to make decisions about which platforms to install in your organisation, particularly in a sector that&#39;s moving as quickly as &quot;Internet of Things&quot;, but all of this made it an easy choice to get behind BERG Cloud from a maker&#39;s point-of-view.</p>
<p>(<a href="http://bergcloud.com/2013/05/16/sandbox/" target="_self">And Matt Webb has written a great post explaining BERG Cloud, Sandbox, and this collaboration, from their perspective</a>.)</p>
<p>We have a complex, engaging space to work with—for a small campus, we have an immense variety of inside and outside conditions, from 17th century stone and wood to Ando&#39;s concrete and glass, from open agora to closed soundbooths, from pools of water to gardens to &quot;savannah&quot;, within complex weather patterns.&#0160;</p>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017eeb3c33c1970d" id="photo-xid-6a00d83452a98069e2017eeb3c33c1970d" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.cityofsound.com/.a/6a00d83452a98069e2017eeb3c33c1970d-pi"><img alt="Fabrica campus" class="asset  asset-image at-xid-6a00d83452a98069e2017eeb3c33c1970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017eeb3c33c1970d-500wi" style="width: 470px;" title="Fabrica campus" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e2017eeb3c33c1970d" id="caption-xid-6a00d83452a98069e2017eeb3c33c1970d">Fabrica campus</div>
</div>
<p>It&#39;s an extensive pallette of materials to which we&#39;re adding both wireless and data, and with which we can really test what it&#39;s like to work with these new materials in real spaces. We also have around 60 people, of all kinds and doing real projects, and so we can begin to explore what it&#39;s like to really live, work and play amidst and betwixt connected and disconnected objects and spaces. This will change the way we communicate with each other, and our environment, and it&#39;s Fabrica&#39;s job to be on top of that.</p>
<p>
<a class="asset-img-link" href="http://instagram.com/p/ZBJfhigBJm/" style="display: inline;" target="_self"><img alt="Fabrica_clouds" class="asset  asset-image at-xid-6a00d83452a98069e2017eeb3c4681970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017eeb3c4681970d-500wi" style="width: 470px;" title="Fabrica_clouds" /></a></p>
<p>
<a class="asset-img-link" href="http://instagram.com/p/YNVx31ABMK/" style="display: inline;" target="_self"><img alt="Fabrica_bunker" class="asset  asset-image at-xid-6a00d83452a98069e201901c3ed9bb970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e201901c3ed9bb970b-500wi" style="width: 470px;" title="Fabrica_bunker" /></a></p>
<p>
<a class="asset-img-link" href="http://instagram.com/p/YNSm9RABJF/" style="display: inline;" target="_self"><img alt="Fabrica_sitting" class="asset  asset-image at-xid-6a00d83452a98069e201910234e54c970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e201910234e54c970c-500wi" style="width: 470px;" title="Fabrica_sitting" /></a></p>
<p>So on behalf of Fabrica, I can say that we&#39;re very proud to be the launch partner for Sandbox.&#0160;My intention is to turn the Fabrica campus into one of the world&#39;s leading centres in this field, for this kind of engaged and meaningful research, development and production which gets beyond the hype around &quot;Internet of Things and smart cities&quot; into uncovering the genuinely interesting possibilities. This includes turning our building and campus into a unique and beautiful place to visit and work with a living, breathing example of these experiences and technologies. We will be running workshops and studios for clients and collaborators in the space, in order to understand the promise of these technologies whilst living and working amongst them. Outside of a handful of research centres and studios, people don&#39;t really know what this new world will feel like, and what the possibilities might be—thanks to BERG Cloud and Sandbox, Fabrica will be a place where you can come and explore just that.&#0160;</p>
<p>If you&#39;re interested in that, do get in touch.</p>
<p><em>And by the way, if you&#39;re a young coder, interaction designer or other kind of maker who&#39;s interested in joining us at Fabrica, to work on these and other projects, <a href="http://fabrica.it/apply" target="_self">then <strong>apply</strong>! It&#39;s free!</a></em></p>
<p>Our first workshop with BERG will take place shortly, wherein Fabrica researchers begin to unbox not just the dev boards but a whole new kind of making.</p><div class="feedflare">
<a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=G_0_ucqpxQY:QqZqngljnN4:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=G_0_ucqpxQY:QqZqngljnN4:7Q72WNTAKBA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=7Q72WNTAKBA" border="0"></img></a>
</div>]]></content:encoded>


<dc:subject>Architecture</dc:subject>
<dc:subject>Cities &amp; Places</dc:subject>
<dc:subject>Interaction Design</dc:subject>
<dc:subject>Sketchbook</dc:subject>
<dc:subject>Urban informatics</dc:subject>

<dc:creator>Dan Hill</dc:creator>
<dc:date>2013-05-16T15:09:29+03:00</dc:date>
<feedburner:origLink>http://www.cityofsound.com/blog/2013/05/announcing-sandbox-a-collaboration-between-berg-and-fabrica.html</feedburner:origLink></item>
<item rdf:about="http://www.cityofsound.com/blog/2013/04/colors-magazine-news-machine.html">
<title>Sketchbook: Colors magazine, Colors #86 "Making the News", and Colors News Machine</title>
<link>http://feedproxy.google.com/~r/cityofsound/JuiP/~3/rfMjXsajjoY/colors-magazine-news-machine.html</link>
<description>If you were to make a list of the ten most influential magazines of all time, I'd hazard a guess that Colors magazine might be in there, so it's a particular privilege that we get to produce Colors from Fabrica....</description>
<content:encoded><![CDATA[<p>
<a class="asset-img-link" href="http://shop-colorsmagazine.com/products/86-making-the-news" style="display: inline;" target="_self"><img alt="Colors86_cover" class="asset  asset-image at-xid-6a00d83452a98069e201901b9885c0970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e201901b9885c0970b-500wi" style="width: 470px;" title="Colors86_cover" /></a></p>
<p>
<a class="asset-img-link" href="http://www.colorsmagazine.com/blog/article/colors-86-launches-at-the-international-journalism-festival" style="display: inline;" target="_self" title="The real Colors New Machine"><img alt="Colorsnewmachine" class="asset  asset-image at-xid-6a00d83452a98069e2017eea96058f970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017eea96058f970d-500wi" style="width: 470px;" title="Colorsnewmachine" /></a></p>
<p>If you were to make a list of the ten most influential magazines of all time, I&#39;d hazard a guess that&#0160;<a href="http://www.colorsmagazine.com/" target="_self"><strong>Colors</strong>&#0160;magazine</a> might be in there, so it&#39;s a particular privilege that we get to produce <a href="http://www.colorsmagazine.com/" target="_self">Colors</a> from <a href="http://fabrica.it/" target="_self">Fabrica</a>. I won&#39;t go into the past of Colors as that&#39;s widely available and discussed elsewhere—suffice to say it’s an incredible and inspirational past—but I wanted to touch on the present of Colors, to coincide with the launch of the new issue <strong>Colors #86 &quot;Making The News&quot;</strong>&#0160;(<a href="http://shop-colorsmagazine.com/products/86-making-the-news" target="_self">find it here</a>) and our new interactive installation that runs alongside.</p>
<p><iframe frameborder="0" height="264" src="http://player.vimeo.com/video/64574642?title=0&amp;byline=0" width="470"></iframe></p>
<p>When I took the helm at Fabrica, the team had all but completed the previous issue — <a href="http://shop-colorsmagazine.com/products/85-going-to-market" target="_self">&quot;Going to Market&quot;</a>, and it was a corker of an issue. It perhaps indicated that the current editorial approach of Patrick Waterhouse, Cosimo Bizzarri, Enrico Bossan and team had really hit its stride. </p>
<p>
<a class="asset-img-link" href="http://shop-colorsmagazine.com/products/85-going-to-market" style="display: inline;" target="_self"><img alt="Colors_goingtomarket" class="asset  asset-image at-xid-6a00d83452a98069e2017eea961af6970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017eea961af6970d-500wi" style="width: 470px;" title="Colors_goingtomarket" /></a></p>
<p>A careful but engrossing linear unfurling of dispatches from markets worldwide—in the widest sense of the word ’market’—it continued the Colors tradition of being “a magazine about the rest of the world” by bringing you stories, angles and images that you just won&#39;t see anywhere else. With a distinct editorial tone, stunning photography, illustration and design (for which the team just picked up an <a href="http://www.adcawards.org/designnight" target="_self">Art Directors Club design award</a>), no advertising, and translated into multiple languages, it seemed to me to be a clear articulation of the idea of “slow journalism” (as in <a href="http://en.wikipedia.org/wiki/Slow_Food" target="_self">slow food</a>, savouring process, craft, provenance, experience, character) which is a term I have probably borrowed from somewhere, though can’t remember who from (tell me below!)</p>
<p>
<a class="asset-img-link" href="http://shop-colorsmagazine.com/products/86-making-the-news" style="display: inline;" target="_self"><img alt="Colors865" class="asset  asset-image at-xid-6a00d83452a98069e2017d4321a2ec970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d4321a2ec970c-500wi" style="width: 470px;" title="Colors865" /></a></p>
<p>Over the last quarter, Patrick and team created the new issue—<a href="http://shop-colorsmagazine.com/products/86-making-the-news" target="_self">just out now!</a>—which focuses on journalism; on the wildy diverse practices involved in &quot;making the news&quot;. And they&#39;ve done an extraordinary job.</p>
<p>
<a class="asset-img-link" href="http://shop-colorsmagazine.com/products/86-making-the-news" style="display: inline;" target="_self"><img alt="Colors864" class="asset  asset-image at-xid-6a00d83452a98069e201901b988ac0970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e201901b988ac0970b-500wi" style="width: 470px;" title="Colors864" /></a></p>
<p>
<a class="asset-img-link" href="http://shop-colorsmagazine.com/products/86-making-the-news" style="display: inline;" target="_self"><img alt="Colors861" class="asset  asset-image at-xid-6a00d83452a98069e2017eea9600da970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017eea9600da970d-500wi" style="width: 470px;" title="Colors861" /></a></p>
<p><a class="asset-img-link" href="http://shop-colorsmagazine.com/products/86-making-the-news" style="display: inline;" target="_self"></a>It&#39;s one of the most thorough, diverse, engaging, thought-provoking and just plain novel statements on the state-of-the-art of journalism I can recall—and this is from someone who follows <a href="http://www.niemanlab.org/" target="_self">Nieman</a>, <a href="http://www.journalism.columbia.edu/" target="_self">Columbia</a>, <a href="http://www.cardiff.ac.uk/jomec/" target="_self">Cardiff</a> etc. The stories vary from the demise of the American professional journalist to the emergence of networked alternatives, ranging from the Israeli Defence Force’s twitter feed to a hand-built radio station from a 16 Year-old in Sierra Leone to <a href="http://booktwo.org/notebook/dronestagram-drones-eye-view/" target="_self">Dronestagram</a>. It covers Berlusconi’s grip on Italian media as well as Photoshop jobs on Iranian missile tests and the often-staged “realities” of contemporary photojournalism.</p>
<p><iframe frameborder="0" height="264" src="http://player.vimeo.com/video/64392004?title=0&amp;byline=0" width="470"></iframe></p>
<p>The physical experience of the magazine—which we feel still has real value on paper—is also quite something. The issue has a magazine within the magazine, via little pockets of editorial tucked under full spreads, as well as windows cut into pages to indicate how news photographs are framed, and the &#39;Yellow Pages&#39; newspaper tucked in the back.</p>
<p>
<a class="asset-img-link" href="http://shop-colorsmagazine.com/products/86-making-the-news" style="display: inline;" target="_self"><img alt="Colors862" class="asset  asset-image at-xid-6a00d83452a98069e201901b988b60970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e201901b988b60970b-500wi" style="width: 470px;" title="Colors862" /></a></p>
<p>
<a class="asset-img-link" href="http://shop-colorsmagazine.com/products/86-making-the-news" style="display: inline;" target="_self"><img alt="Colors863" class="asset  asset-image at-xid-6a00d83452a98069e201901b988bb0970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e201901b988bb0970b-500wi" style="width: 470px;" title="Colors863" /></a></p>
<p><a class="asset-img-link" href="http://www.cityofsound.com/.a/6a00d83452a98069e201901b988bb0970b-pi" style="display: inline;"></a>I urge you to track it down and take a look. You can find it in bookstores worldwide, but more easily perhaps <a href="http://shop-colorsmagazine.com/" target="_self">via our new online store for Colors</a>.</p>
<p>My role has been to do no more than supply a few contacts and make a few comments, but this is all the team’s work, so congratulations to them—it’s a landmark Colors issue, I think, and that&#39;s saying something.</p>
<p>More importantly, <a href="http://magculture.com/blog/?p=17130" target="_self">that also happens to be Jeremy Leslie’s view</a>.</p>
<p>Since I started we’ve been working on getting it into the right places, both in terms of promotion and distribution. I&#39;m pushing a strategy of taking more control in-house over distribution, subscriptions, back-issues etc. I saw this work at <a href="http://monocle.com/" target="_self">Monocle</a>, when they stopped using Quadrant for subscriptions, after the first year, and handled it in-house, and clearly the strong independent magazine sector (about the only part of the business that is strong) does this instinctively.</p>
<p>So we&#39;ve <a href="http://shop-colorsmagazine.com/" target="_self">rebuilt the online shop using Shopify</a> (particular thanks to Felipe Rocha, David Peñuela and Erica Fusaro for that) and are beginning to wrestle back control of <a href="http://www.colorsmagazine.com/subscribe" target="_self">subscriptions</a>&#0160;and back issues. Physical distribution remains a nightmare—it&#39;s just not easy to find Colors, and it should be—and this is one of our biggest headaches, as it is for any magazine. We have a good service <a href="http://idnproshop.com/subscribe/colors/" target="_self">via IdN</a> in the Asia-Pacific region, but other regions remain patchy at best. We&#39;re working on it. <strong>If you run a place that would like to stock Colors, please let us know</strong> (email dan dot hill at fabrica dot it.)</p>
<p>And being Fabrica, we&#39;re also interested in totally reinventing the business. So we&#39;re exploring a modified version of the fine and compelling idea of <a href="https://worksthatwork.com/distribution/" target="_self">“social distribution”</a> borrowed from the excellent new title &quot;<a href="https://worksthatwork.com/" target="_self">Works That Work</a>&quot;, from the esteemed Peter Bilak and crew. We’ll have <a href="https://twitter.com/inevernu" target="_self">Patrick Tanguay</a> of the equally excellent and recent <a href="http://thealpinereview.com/" target="_self">“The Alpine Review”</a> at Fabrica shortly too, to pick his brains on how they handle their business, just as we had the great Marco Ferrari visit the Colors team recently, sharing his experience as creative director of <a href="http://www.domusweb.it/" target="_self">Domus magazine</a>, and particularly <a href="http://www.cityofsound.com/blog/2012/10/domus-magazine-ipad.html" target="_self">the iPad angles</a>&#0160;developed there.</p>
<p>Speaking of which, we’ll have a new strategy emerging there shortly too, around what Colors does digitally, alongside its paper incarnation. As a hint, we’ve created an interactive installation to work alongside this issue. As the <a href="http://www.colorsmagazine.com/blog/article/colors-86-launches-at-the-international-journalism-festival" target="_self">issue is launching this week</a> at the <a href="http://www.journalismfestival.com/" target="_self">Perugia International Journalism Festival</a>, one of the world’s most important, we wanted to create something that would use <a href="http://shop-colorsmagazine.com/products/86-making-the-news" target="_self">Colors #86</a> as a platform, to explore the same theme but jump of on its own tangent, as well as be something that festival goers could engage with.</p>
<p>Enter the <a href="https://vimeo.com/64574642" target="_self">Colors New Machine</a>. Inspired by the cover to Colors #86, and designed by the resident Canadian in our interactive team, Jonathan Chomko, working with Mauro Bedoni, Aaron Siegel and others from Fabrica, it&#39;s an interactive installation which playfully deconstructs the notion of the increasingly automated and syndicated &#39;news machine&#39;, via a sort of Heath Robinson-esque &#39;Chinese Whispers&#39;. You feed the machine via Twitter—tweet a story to <a href="https://twitter.com/ColorsMachine" target="_self">@ColorsMachine</a> and see what you get back—and it&#39;ll be sitting in a storefront on the main piazza in Perugia during the festival, so do take a look if you&#39;re there. <a href="https://vimeo.com/64574642" target="_self">Here&#39;s that video again</a>:</p>
<p><iframe frameborder="0" height="264" src="http://player.vimeo.com/video/64574642?title=0&amp;byline=0" width="470"></iframe></p>
<p>(It&#39;s already making the news itself, at <a href="http://desktopmag.com.au/project-wall/make-the-news-with-the-colors-news-machine/#.UXpJ5ytgYSQ" target="_self">Desktop</a>, <a href="http://www.designboom.com/technology/fabrica-the-news-machine-for-colors-magazine/" target="_self">Designboom</a>, <a href="http://www.creativereview.co.uk/cr-blog/2013/april/colors-news-machine" target="_self">Creative Review</a> etc.)</p><div class="feedflare">
<a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=rfMjXsajjoY:PqVcTDSuCAo:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=rfMjXsajjoY:PqVcTDSuCAo:7Q72WNTAKBA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=7Q72WNTAKBA" border="0"></img></a>
</div>]]></content:encoded>


<dc:subject>Exhibitions</dc:subject>
<dc:subject>Interaction Design</dc:subject>
<dc:subject>Media</dc:subject>
<dc:subject>Photography</dc:subject>
<dc:subject>Sketchbook</dc:subject>

<dc:creator>Dan Hill</dc:creator>
<dc:date>2013-04-26T12:56:17+03:00</dc:date>
<feedburner:origLink>http://www.cityofsound.com/blog/2013/04/colors-magazine-news-machine.html</feedburner:origLink></item>
<item rdf:about="http://www.cityofsound.com/blog/2013/02/watch-dogs-world-creation.html">
<title>Journal: Watch Dogs and world creation</title>
<link>http://feedproxy.google.com/~r/cityofsound/JuiP/~3/2ReklAhebVc/watch-dogs-world-creation.html</link>
<description>It seems to me that there are around three hundred interesting things about these clips from the forthcoming game Watch Dogs. None of those things particularly concern the plot, characterisation, narrative, but rather the creation of worlds, especially urban worlds....</description>
<content:encoded><![CDATA[<p><iframe frameborder="0" height="264" src="http://www.youtube.com/embed/FcMRkyoHKeA" width="469"></iframe></p>
<p>It seems to me that there are around three hundred interesting things about these clips from the forthcoming game <em><a href="http://watchdogs.ubi.com/watchdogs/it-it/home/" target="_self">Watch Dogs</a></em>.  None of those things particularly concern the plot, characterisation, narrative, but rather the creation of worlds, especially urban worlds.</p>
<p>I would love to stretch out into a post here about &quot;world creation&quot;, but there&#39;s little time now, on a late Friday night in Treviso, with my head already sporadically nodding over the backlit keyboard of my Macbook as the bells count midnight at the Duomo beyond the shutters.</p>
<p>But the nice thing about having one of the older blogs is that I&#39;ve written about all this before, in this case around ten years ago, mentioned in <a href="http://www.cityofsound.com/blog/2003/01/gangs_of_new_yo.html" target="_self">a piece on Martin Scorcese&#39;s <em>Gangs of New York</em></a>. And <a href="http://www.cityofsound.com/blog/2004/09/not_many_san_an.html" target="_self">Grand Theft Auto, San Andreas</a>, <a href="http://www.cityofsound.com/blog/2002/09/modelling_urban.html" target="_self">GTA 3</a>, <a href="http://www.cityofsound.com/blog/2004/04/video_game_flne.html" target="_self">The Warriors</a>&#0160;and <a href="http://www.cityofsound.com/blog/2004/12/los_angeles_gra.html" target="_self">Grand Theft Reality</a>. So I can simply embed and point.</p>
<p><em><a href="http://en.wikipedia.org/wiki/Watch_Dogs" target="_self">Watch Dogs</a></em> feels hugely appealing, as it was with a short clip of another <a href="http://www.theverge.com/2013/2/18/3991586/remember-me-cyberpunk-vision-future-paris" target="_self">game based in Paris 2084 posted to The Verge</a> the other day, simply because it suggests the possibility of wandering around in a semi-fictional city as escapist pastime. No plot, no narrative, just exploring something which is a parallel urban universe (temporarily, dramatically, architecturally.)</p>
<p>Partly this is appealing as urban walking is an occupation of mine in real cities, from <a href="http://www.cityofsound.com/blog/2009/07/notes-on-geneva.html" target="_self">Geneva</a> to <a href="http://www.cityofsound.com/blog/2012/04/bullitt-drive-walking-la-river.html" target="_self">Los Angeles</a> to many more not written up. And partly as the other narrative forms I enjoy the most often create a world—and often an urban world—as a core character. For example, and purely at random.&#0160;<em><a href="http://www.cityofsound.com/blog/2012/04/bullitt-drive-walking-la-river.html" target="_self">Bullitt</a></em> and <em><a href="http://www.cityofsound.com/blog/2012/04/bullitt-drive-walking-la-river.html" target="_self">Collateral</a></em> and <a href="http://www.cityofsound.com/blog/2002/08/unbreakable_and.html" target="_self">Will Eisner</a>&#0160;and <em><a href="http://www.cityofsound.com/blog/2006/01/bleak_house_wit.html" target="_self">Bleak House</a></em> and <em><a href="http://www.cityofsound.com/blog/2006/01/a_tale_of_two_c.html" target="_self">Chavez Ravine</a></em> and &#0160;<a href="http://www.amazon.com/exec/obidos/ASIN/0316187402/cityofsound-20" target="_self">Warren Ellis&#39;s excellent recent novel <em>Gun Machine</em></a>, which <em>Watch Dogs</em> appears to share some similarities with, by the way. World building more broadly, outside of cities, also seems a characteristic of compelling narrative formats, from <em>West Wing</em> to <em>Borgen</em> via <em><a href="http://www.cityofsound.com/blog/2006/03/why_lost_is_gen.html" target="_self">Lost</a></em> and <em>Eastenders</em> to <a href="http://en.wikipedia.org/wiki/Swallows_and_Amazons" target="_self">Swallows and Amazons</a>. </p>
<p>These are story-forms that suggest a map, an architecture. Old videogames used to present unclimable walls or inexplicable roadblocks curtailing streets at the edge of the game&#39;s map; the action within the map is so vivid because it is contained. Similarly, when characters appeared outside the White House in <em>West Wing</em>, or outside the few key locations in <em>Borgen</em>, or at the allotments in <em>Eastenders</em>, it always feels slightly odd, as if the characters are trespassing somehow. As if they&#39;ve briefly escaped.</p>
<p>And partly it&#39;s compelling because I have that history with games particularly, in which urban world creation is such a core aspect. I suppose I wrote about this most directly in&#0160;<a href="http://www.cityofsound.com/blog/2004/04/video_game_flne.html" target="_self">the post &quot;Video Game Flaneurs&quot;</a>, in 2004, speculating about the possibility of using game engines to create particular urban scenes to experience: New York in 1980; Manchester in 1830; Italian city-states; Weimar Berlin ... Entirely facile, vicarious simulacra for sure, and in no way comparable to genuine urban experience. But still ... <em>something</em>. Why are these experiences so strangely compelling?</p>
<p>So while there are lots of luscious details in these short sections of <em><a href="http://en.wikipedia.org/wiki/Watch_Dogs" target="_self">Watch Dogs</a></em>: from the satirical take on the opening of a clichéd media arts exhibition through to the <em>mis-en-scene</em>&#0160;being delicately traced with the digital exhausts of the city&#39;s populace, the key thing for me comes in another preview video for <em><a href="http://en.wikipedia.org/wiki/Watch_Dogs" target="_self">Watch Dogs</a></em> featuring a voiceover from the game&#39;s creative director.</p>
<p><iframe frameborder="0" height="264" src="http://www.youtube.com/embed/zRt2bw82wYo" width="469"></iframe></p>
<p>He says:</p>
<blockquote>
<p>&quot;Everything you&#39;re about to see is Just another day in the city. There is no mission and no objectives … You&#39;re creating your own experience by tapping into peoples&#39; lives. What&#39;s cool about it, is that the possibilities are endless.&quot;</p>
</blockquote>
<p>That&#39;s it. <em>No Mission, no objectives</em>. But the endless possibility of the city generates the experience. Just as with a real city, essentially, albeit in rather different ways.</p>
<p>Of course, this being a game, <em>there is</em> a plot. And the main protagonist has &quot;super-powers&quot; that are not really that &quot;super&quot; at all, but a gentle extrapolation of today&#39;s consumer tech, in which he can access any digitally-mediated infrastructure in the immediate vicinity.<br /><br />&quot;You&#39;re going to control the entire city of Chicago …&quot;, says the art director, noting how you can access and redeploy any infrastructure lying around, from ATMs to air-conditioning units, traffic lights to bollards. And then, this being a game, he says &quot;Even the smallest thing can become a weapon.&quot;</p>
<p>But while the idea of hacking the city&#39;s tech clearly presents strong narrative possibilities, it looks like <em>Watch Dogs</em> will be enjoyed on a whole other level: that no-narrative narrative of the city unfolding itself for you.<br /><br />(<em>Watch Dogs</em> was brought to my attention today by <a href="http://fabrica.it/" target="_self">Fabrica&#39;s</a> head of interaction, <a href="http://www.datadreamer.com/" target="_self">Aaron Siegel</a>, and these thoughts also follow on from conversations with one of our designers at <em><a href="http://www.colorsmagazine.com/" target="_self">COLORS</a></em>, <a href="http://www.amerang.eu/" target="_self">Ivor Williams</a>. Thanks.)</p><div class="feedflare">
<a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=2ReklAhebVc:08UUp8RwcTw:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=2ReklAhebVc:08UUp8RwcTw:7Q72WNTAKBA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=7Q72WNTAKBA" border="0"></img></a>
</div>]]></content:encoded>


<dc:subject>Cities &amp; Places</dc:subject>
<dc:subject>Film</dc:subject>
<dc:subject>Journal</dc:subject>

<dc:creator>Dan Hill</dc:creator>
<dc:date>2013-02-23T01:06:41+02:00</dc:date>
<feedburner:origLink>http://www.cityofsound.com/blog/2013/02/watch-dogs-world-creation.html</feedburner:origLink></item>
<item rdf:about="http://www.cityofsound.com/blog/2013/02/on-the-smart-city-a-call-for-smart-citizens-instead.html">
<title>Essay: On the smart city; Or, a 'manifesto' for smart citizens instead</title>
<link>http://feedproxy.google.com/~r/cityofsound/JuiP/~3/MuaGw42v9Sg/on-the-smart-city-a-call-for-smart-citizens-instead.html</link>
<description>Oh, the smart city. I have “previous” here, over about a decade of writing about the interplay between cities and technology. And particularly, having written about The Street As Platform, and the Personal Well-Tempered Environment, and The Adaptive City, and...</description>
<content:encoded><![CDATA[<p><em>Oh, the smart city</em>. I have “previous” here, over about a decade of writing about the interplay between cities and technology. And particularly, having written about <a href="http://www.cityofsound.com/blog/2008/02/the-street-as-p.html" target="_self">The Street As Platform</a>, and the <a href="http://www.cityofsound.com/blog/2008/01/the-personal-we.html" target="_self">Personal Well-Tempered Environment</a>, and <a href="http://www.cityofsound.com/blog/2008/09/the-adaptive-ci.html" target="_self">The Adaptive City</a>, and about <a href="http://www.cityofsound.com/blog/2010/01/notes-on-new-songdo-city.html" target="_self">New Songdo City</a>, and <a href="http://www.cityofsound.com/blog/2010/01/visualising-emails-on-the-cloud-project-or-sketching-the-new-smokestacks.html" target="_self">&quot;new smokestacks&quot;</a>, and <a href="http://www.cityofsound.com/blog/2011/08/melbourne-smart-city-c40.html" target="_self">how it’s easier to crowd-source a revolution than a light-rail system</a>, and so on. And then worked on many projects, which I hope to scribble more about one day here, from Barangaroo to <a href="http://brickstarter.org" target="_self">Brickstarter</a>, Masdar to <a href="http://www.cityofsound.com/blog/2011/08/melbourne-smart-city-c40.html" target="_self">Melbourne</a>.</p>
<p>During this time, what we might call a Urban Intelligence Industrial Complex (led by IBM, Cisco, General Electric, Siemens, Philips et al) has emerged and continues to try to insert itself into urban agendas;&#0160; with little success, in comparison to the marketing spend, it must be said. One can imagine a quiet fading away of all those “Smarter Planet” promotional schemes soon, actually.</p>
<p>But it’s clearly not an idea that’s going to go away (for reasons good and bad.) I was be asked by both the <a href="http://lsecities.net" target="_self">London School of Economics</a> and <a href="http://volumeproject.org/blog/2012/12/21/volume-34-city-in-a-box/" target="_self"><em>Volume</em> magazine</a>, separately, to write about the smart city (both were related to different speaking engagements.)</p>
<p><iframe frameborder="0" height="264" src="http://player.vimeo.com/video/58843123?byline=0&amp;portrait=0" width="470"></iframe>&#0160;</p>
<p>The piece for the <a href="http://lsecities.net" target="_self">LSE</a> was a contribution to their <a href="http://ec2012.lsecities.net" target="_self">Electric City</a> conference newspaper (thanks Philipp Rode and Ricky Burdett). I spoke there about the <a href="http://brickstarter.org/" target="_self">Brickstarter project</a> we started in Helsinki alongside many great contributions from the likes of Richard Sennett, Anthony Giddens, Saskia Sassen, Adam Greenfield, Greg Lindsay, Michael Kimmelman, Alejandro Zaero-Polo, Erik Spiekermann, Richard Rogers and others, all of whom lined up to critique the smart city idea, essentially. My talk was a little too hurried, I’m afraid, and I felt I failed to connect—which partly spurred me to present the following piece here.</p>
<p><iframe frameborder="0" height="264" src="http://player.vimeo.com/video/58795125?byline=0&amp;portrait=0" width="470"></iframe>&#0160;</p>
<p>While the LSE piece was written before Electric City, the <a href="http://volumeproject.org/blog/2012/12/21/volume-34-city-in-a-box/" target="_self">Volume article</a> was partly reflecting on an event in Rotterdam organised by the fascinating <a href="http://www.newtowninstitute.org/" target="_self">International New Towns Institute</a> (only in the Netherlands, eh?), where I moderated a panel on New Songdo City. Their latest issue presents four case studies of new towns which can be seen as “smart cities” to some extent (Living PlanIT’s PlanIT Valley, near Oporto in Portugal; Lavasa in India; Strand East in London; New Songdo in South Korea). Really, however, they are contemporary variants on the new town idea—what Volume call <a href="http://volumeproject.org/blog/2012/12/21/volume-34-city-in-a-box/" target="_self">“the city in a box”</a> approach.</p>
<p><em>(Writer’s note: This may only be interesting to me, but faced with writing two pieces in quick succession, when I have essentially a single line of critique, I first of all did what I usually do, as regular readers know—I wrote too much—and produced one piece. I then snapped this in two, trimmed around the edges, and gave one half to LSE and the other to Volume, for further edits. Both published pieces have a distinct and self-contained critique, but they spring from same source, and both suggest the key idea of “smart, engaged citizens”. I’ve stitched them back together into one whole, cleaned up a bit and added a few ornamental details, and am sharing here as one single critique of the smart cities movement. It is different to the original, and so a fourth variation on a theme. It’s a peculiarly baroque and labour-intensive outcome (oh to be able to write precisely first time round) but as a process it had a certain value.)</em></p>
<p>So, as a whole this is different to the pieces published by LSE and <em>Volume</em>, but is constructed from the basic components of both. I hope you can’t see the join. Look carefully nonetheless, as this might appear at first glance like a destructive critique of technology in the city. It is not. Technology is culture; it is not something separate; it is no longer “I.T.”; we cannot choose to have it or not. It just is, like air. There are different forms of technology in different cities, of course, but given that technology and culture have fused (arguably, always had) the issue is now a cultural one; what kind of culture do we want in our cities? How do we orient ourselves, with regards to today’s particular technological cultures?&#0160;</p>
<p>We know how our cities were oriented as regards irrigation, language, currency, double-entry book-keeping, clocks, looms, trains, sewage, power plants, elevators,&#0160;cars, containers—these are all forms of technology, which were in some way aligned to, and sprang from, the core urban dynamics of their age (and perhaps those eternal urban drivers of culture and commerce.)</p>
<p>So, how do we orient our cities as regards The Network? And how might this then address the core issues of our age?</p>
<p>So the goal is entirely constructive, and to <strong>shift the debate in a more meaningful direction, oriented towards the raison d’etre of our cities: citizens, and the way that they can create urban culture with technology.&#0160;</strong></p>
<p>Although it says “manifesto” up there, this is not a manifesto in the sense that <a href="http://en.wikipedia.org/wiki/Filippo_Tommaso_Marinetti" target="_self">Marinetti</a> would write one—probably for the best—but instead a quest for the right questions. As such, you might infer your own manifesto from it (even in opposition to it!)</p>
<p>The essay surveys three types of activities, and scenarios, demonstrating active citizens, noting some issues along the way, and then critiques the opposite—the production of passive citizens—before asking a couple of questions and suggesting some key shifts in attitude required to positively work with the grain of today’s cultures, rather than misinterpret it. <em>(Read on below.)</em></p>

&#0160;
<p><span style="font-size: 14pt;"><strong>On the smart city; A call for smart citizens instead</strong></span></p>
<p><strong style="font-size: 11pt;">Big data + social media = urban sustainability?</strong></p>
<p>The promise of smart sustainable cities is predicated on the dynamics of social media alloyed to the Big Data generated by an urban infrastructure strewn with sensors. Feedback loops are supposed to engage citizens and enable behaviour change, just as real-time control systems tune infrastructure to become more energy efficient. Social media dynamics enable both self-organisation and efficient ecosystems, and reduce the need for traditional governance, and its associated costs.&#0160;</p>
<p>Yet is there a tension between the emergent urbanism of social media and the centralising tendencies of urban control systems? Between the individualist biases inherent within social media and the need for a broader civic empathy to address urban sustainability? Between the primary drivers of urban life and the secondary drivers of infrastructural efficiency?&#0160;</p>
<p>And in terms of engaging citizens, we can certainly see evidence of increased interest in using social media for urban activism, from crowdfunding platforms to Occupy Everywhere and the Arab Spring. Yet does it produce any more coherence or direction for the new cultures of decision-making required in our cities, or simply side-step the question of urban governance altogether? And what if the smart city vision actually means that governance becomes ever more passive, as it outsources operations to algorithms or is side-stepped by social media, whilst citizens also become passive in response to their infrastructure becoming active? Or might they be too distracted to notice as they’re all trying to crowd-fund a park bench?</p>
<p>This essay is peppered with such questions, not because there are no hints or pathways ahead, but because we tend to spend little time on framing our problems with care. As the British architect Cedric Price said in the mid-1960s: <strong>“Technology is the answer. But what is the question?”&#0160;</strong></p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>Efficiency as cul-de-sac</strong></span></p>
<p>Instead of the smart city, perhaps we should be more preoccupied with smart citizens. The smart city vision tends to focus on infrastructure, buildings, vehicles, looking for a client amidst the city governments that procure or plan such things.&#0160;</p>
<p>But the city is something else.&#0160;</p>
<p>The city is its people. <strong>We don’t make cities in order to make buildings and infrastructure. We make cities in order to come together, to create wealth, culture, more people</strong>. As social animals, we create the city to be with other people, to work, live, play. Buildings, vehicles and infrastructure are mere enablers, not drivers. They are a side-effect, a by-product, of people and culture. Of choosing the city.</p>
<p>The smart city vision, however, is focused on these second order outcomes, and often with one overriding motivation: efficiency. Yet the city’s primary <em>raison d’être</em> is to be found amidst its citizens. If we look there, we find that there is more, much more, to urban life than efficiency. In fact, many of those primary drivers are intrinsically inefficient, or at least at a tangent to the entire idea of efficiency. Can a city be “smart” and inefficient at the same time? Perhaps this is a fundamental question, un-voiced by smart city advocates.</p>
<p>We might argue that smartening the infrastructure enables citizens to make informed decisions, and this is certainly true. But the infrastructure’s output is hugely limited—it might speak to patterns of resource use, but gives us little detail or colour in terms of those original starting points for the city, which tend to be qualitative rather than quantitative, slippery, elusive, transient, subjective.</p>
<p>So to see the city as a complex system to be optimised, made efficient, is to read the city along only one axis, and hardly a primary one at that.&#0160;&#0160;</p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>Enter the smart citizens</strong></span></p>
<p>We must look somewhere else for inspiration, to the most important aspect of smart cities. That would be smart citizens.</p>
<p>Fear not, because as it happens, all around us, in cities worldwide, we see evidence of smart citizens—that is, citizens using social media and related technologies to organise and act. Despite the heavy infrastructure-led visions of the systems integrators and IT corporations, <strong>the most interesting and productive use of contemporary technology in the city is here, literally in the hands of citizens, via phones and social media.</strong>&#0160;</p>
<p>The dynamics of social media have been adopted and adapted in the last few years to enable engaged and active citizens to organise rapidly and effectively; a network with a cause.&#0160;</p>
<p>Occupy Everywhere is part-enabled by Twitter, just as Facebook helped tip over various perturbation points that fuelled the Arab Spring. We see it less helpfully, if minimally, implicated in the UK riots, partly brought to you by Blackberry Messenger. (Incidentally, it’s worth noting that the allegations that social media helped “cause” or drive those riots are surely flawed; after all, people have previously managed to riot quite successfully, for quite some time, without Blackberrys. What is entirely new is a <a href="http://www.guardian.co.uk/uk/2011/aug/09/riot-cleanup-campaign-twitter-facebook" target="_self">nation-wide mass clean-up the morning after organised over Twitter (#riotcleanup)</a>. That had never happened before in urban history.)</p>
<p><em>(<strong>Update</strong>: Note also the success of <a href="http://en.wikipedia.org/wiki/Beppe_Grillo" target="_self">Beppe Grillo&#39;s</a> <a href="http://www.movimentocinquestelle.it/" target="_self">Movimento 5 Stelle</a>&#0160;in the <a href="http://www.guardian.co.uk/commentisfree/2013/mar/02/italy-general-election-grillo-turmoil" target="_self">recent Italian elections</a>. Without spending a cent on advertising, and refusing to appear at all on any mainstream media, this party won more votes than any other. That is unheard of in a major western democracy—if not almost unthinkable, just months ago. And how? Grillo&#39;s party took to piazza after piazza, every single night of the campaign, holding huge rallies to rapt crowds, in a distinctly non-institutional mode. But they also used social media extremely adeptly, in a way that left the traditional political parties trailing in their wake (masterminded by 5 Stelle&#39;s <a href="http://en.wikipedia.org/wiki/Gianroberto_Casaleggio" target="_self">Gianroberto Casaleggio</a>.) Arab Spring was partly Tahrir Square + Facebook. Occupy was partly Zuccotti Park + Twitter. As the UK doesn&#39;t really do piazzas, the British equivalent was the high street + Blackberry Messenger. And so the Grillo phenomenon is&#0160;<strong>the piazza + social media</strong> too. So we see social media-driven activism finding a foothold in the essentially ancient urban form of the square—the two work together, with the dynamics of social media manifesting themselves in these relatively open urban forms (Q. Would it even work as powerfully without the piazza?)</em></p>
<p>We also see the dynamics of social media behind a flurry of crowd-sourced, crowd-funding platforms, driven by the exponential growth and increasingly disruptive success of Kickstarter, with 2012 alone witnessing numerous new platforms aimed at engaging citizens in the collaborative development of their own city.</p>
<p>Both strains of activism—crowds, and crowdsourcing—will be unpicked a little more below.</p>
<p>All of these are involved in questions of sustainability, one way or another, at least in terms of triple-bottom-line and beyond (economic and social as well as environmental), with several aimed directly at sustainable outcomes, on the basis that we have all the technology and capital we need to create sustainable cities—our problem is rather that we can’t agree what to do next. So <strong>these are platforms for agreeing</strong>.</p>
<p>“Smart citizens” seem to be emerging at a far faster rate than we’re seeing more formal technology-led smart cities emerging. This smart city needs no marketing campaign, and little in the way of new urban infrastructure—it relies on loosely joined internet infrastructure overlaid onto the city, and the fact that the city has become the organising principle for humanity. This speaks to a genuine interest, desire, and facility with these platforms amongst citizens—people are voting with their feet. What we are really seeing is active, engaged citizens—“smart” is too loaded a term, too easily co-opted, and unhelpfully vague. This activity is heartening; in the face of institutional collapse, active citizens are knitting together their own smart city, albeit not one envisaged by the systems integrators and technology corporations.&#0160;</p>
<p>But do they enable more complex decision-making? Isn’t this where Occupy falls over, or the Arab Spring gets wintry?&#0160;</p>
<p>There are a few dots on the radar that describe systems that might enable a more sustained form of engagement. While they borrow the dynamics, modes and functionality of social media, they needn’t rely on them, and all preference a form of public, physical engagement with urban fabric.</p>
<p>Moving beyond the successful &quot;platforms-for-complaining&quot; like FixMyStreet and SeeClickFix, some attempt to open up urban planning, design and operations to the community. Others indicate a subtle side-stepping of bureaucracy, trying to engage citizens directly, sidestepping a city in technocrat-mode.</p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>Active citizens 1: 2011, Social media and the year of Peak News</strong></span></p>
<p>There are weak signals that, as institutional frameworks continue to crumble, citizens are increasingly actively engaged in decision-making about their city. Again, at its most viscerally obvious, we can see it in Tahrir Square, Occupy Everywhere, Croydon, Athens, or the underreported protests in urban China. But beyond those flashpoints, we can also see numerous examples of a more systemic change: urban activism becoming urban activity. All these phenomena rely on the dynamics, modes and functionality of social media. They enable the heroic efforts of urban activists of the past—those who produced New York’s High Line, London’s Coin Street, or Renew Newcastle in Australia, say—to be shared, copied, translated and scaled.</p>
<p>Through the lens of democratising urban planning, we see examples like “Sub-Plan” in the UK and “Tallinna Planeeringute Juhend” in Tallinn: simple, user-centred guidebooks explaining how to exploit loopholes in urban planning legislation to more creatively and proactively rework your city. We can see movements like Friends of Arnold Circus in London, where the community has brokered a deal with its cash-strapped municipal government such that local maintenance is a shared responsibility. The outcome is that what used to be a dilapidated, syringe-strewn, rusty Victorian bandstand is now an active and well-tended community garden. Similarly, in Berlin, we see the residents of Schöneberg creating and maintaining their own planter boxes outside their apartment blocks, sometimes asking the city government for permission, sometimes not. As each apartment block is different, the streets become patterned with a playful expression of Berlin’s rich diversity. <strong>It’s an entirely informal urbanism, taking root in the cracks left by urban planning, city governance and market forces. But does it scale beyond the window-dressing of tactical planter boxes?</strong></p>
<p>In Helsinki, Ravintolapäivä (Restaurant Day) started in 2011 and now runs every few months, with hundreds of diverse pop-up restaurants peppering the streets, effortlessly circumventing the city government by exploiting legal grey areas or simply relying on strength in numbers, common sense, and clear public demand (<a href="http://www.cityofsound.com/blog/2012/05/ravintolap%C3%A4iv%C3%A4-opportunistic-edible-urbanism.html" target="_self">as discussed previously</a>.) Created in response to overly repressive, cumbersome and outdated legislation, the festival was devised and organised by a small group of friends, in emergent fashion, coordinated via Facebook and Twitter. The resulting “Ravintolapäivä” was essentially a set of instructions, and you can’t arrest a set of instructions. <strong>You can&#39;t arrest code</strong>. There is no there, there. It would be like trying to arrest smoke, and consequently the City, the biggest bureaucracy in the country, was sidestepped easier than the Maginot Line. The streets are suddenly full on Restaurant Days, a vivid expression of how fast Helsinki is diversifying, with people you don’t usually see enjoying a diverse range of food you can’t usually eat—empenadas cooked by Argentinians, crepes by French, lasagna by Italians, as well as smoked reindeer from the Finns. To locals, it must feel like a new Helsinki emerging from within the hardened shell of the old.</p>
<p>But interestingly, while such events are a kind of slow-release capsule in changing the culture of the city, changing the stories that the city tells about itself, such pop-ups do not strategically create systemic change, just as Occupy, Arab Spring and UK Riots have not projected any kind of suggestion for a new, resilient decision-making culture. Though it has spread throughout Finland and worldwide—a major marketing success the municipality can barely mention, as Ravintolapäivä still hovers in Helsinki’s legal grey areas—Restaurant Day is largely a phenomenon enjoyed by urban hipsters, and is here today, gone tomorrow. <strong>The only problem with Restaurant Day is the Day After Restaurant Day</strong>. There, the city snaps back to its previous shape, with no diverse food offering, little creative use of the street, and the hardening chrysalis of the old city visible again.</p>
<p>Events can change the city, clearly—hence the vast investments in Olympics and Expos as well as bottom-up riots—but their effects are slow, unpredictable and spotty.&#0160;</p>
<p>Yet what these new tools suggest, due to the platform characteristics of social media, is a more rapid, even, and sustained change might be possible. The tools could be used to create a new interface on the city that could, potentially, alter the way that most citizens interact with it.&#0160;</p>
<p>Moreover, behavioural psychology tells us of the importance of people actually doing things, when attempting to engender significant behaviour change.&#0160;</p>
<p><strong>It turns out that changing behaviour is a way to subsequently change attitudes; this is entirely counter the thinking behind many smart systems</strong>, which are predicated on feedback loops delivering information to people, whose attitudes then change, and who then choose to change their behaviour accordingly. Instead, behaviour change happens through changing behaviour, and then attitudes.&#0160;</p>
<p><strong>It is not enough to simply “make the invisible, visible”</strong>, to use the already well-worn phrase in urban informatics. But change might happen through creating convenient, accessible ways to try something different, and then multiplying that through social proof and network effects, reinforcing through feedback. (This means all those smart meters are a complete waste of time and money, and will eventually have to be uninstalled.)</p>
<p>Active learning—say, by trying out that idea for a pop-up café, without having to commit to it—also enables social proof. Others take part in it. And this, in turn, encourages further activity. This drive towards enabling activity—physical activity in streets, embedded within digital activity, at one and the same time—is also the future of communications concerned with meaningful change: it is no longer enough to convey the image; you have to convey the tools too.</p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>Active citizens 2: 2012, crowdfunding platforms and the year of collaborative city-making</strong></span></p>
<p>Running along parallel tracks, numerous cities have witnessed an explosion in crowd-sourcing and crowd-funding platforms throughout 2012. Following in the wake of the increasingly high-profile crowdfunding platform Kickstarter, and almost popping up at the rate of one every couple of weeks over the year, these include Neighborland, In Our Backyard (IOBY), YIMBY, SpaceHive, Brickstarter, <a href="http://Neighbor.ly">Neighbor.ly</a>, Change By Us, Give A Minute, Smallknot, Joukkoenkeli, Lucky Ant, Voorderkunst, I Make Rotterdam, as well as several more general crowdfunding services occasionally bent into shape to serve as urban incubators (Indiegogo, PeopleFundIt, PleaseFundUs, Crowdfunder, and Kickstarter itself).</p>
<p>The basic notion is that someone thinks of and pitches a local project, and people in the community “back” that idea, typically donating small amounts of funding. The network effects of social media enable an aggregation, whilst the architecture of contemporary websites enabled the projects to be tracked, discussed, updated, voted upon, and so on. (See <a href="http://brickstarter.org/" target="_self">Brickstarter.org</a> for a more thorough unpacking of these ideas.)</p>
<p>All these systems are predicated on the idea that citizens want to engage in their city; that implicitly, citizens are best-placed to notice, suggest, aggregate and drive a certain kind of urban intervention. This “Kickstarter urbanism“, like Kickstarter itself, is typically oriented towards the small things in cities—let’s turn this parking lot into a community garden; let’s start a co-working space; let’s start a bike-sharing scheme—rather than taking on urban governance models, or attempting to fund large-scale infrastructure.</p>
<p>This in itself is no criticism: <strong>what city wouldn’t benefit if people started caring about the small things? But is there is a lingering sense that this might be a little “bread and circuses”?</strong> A stream of micro-distractions to occupy the community while the big boys in government get on with the big stuff—education, transit systems, energy policy, grand civic buildings, and so on.</p>
<p>Of course, the basic model of crowd-funding currently limits the capital it might produce, even for dense neighbourhoods. Kickstarter can generate tens of millions of dollars at best, which is a lot for a watch but doesn’t get near the investment required for a light-rail system, say. And the average Kickstarter project raises under USD10k, on a global platform, often promoting global projects. Most urban projects are intrinsically not global, but highly local, limiting the size of the crowd that might fund, whilst asking the basic question of who decides what is best locally, when using a global platform.</p>
<p>Equally, crowdfunding could have a political edge, consciously or not, in that raising capital directly from particular members of a community could impact upon a municipality&#39;s capability to raise money through taxation. Crowdfunding could inadvertently become a substitution for taxation. If these are public projects—and they tend to be—then why does the municipality not fund them via the public purse?</p>
<p>Besides, money speaks rather loudly in crowdfunding systems. A wealthy local resident could increase the likelihood that a project might happen simply by dropping a million euros on it. Such systems tend to use a financial target as primary organising object, rather than its potential appropriateness, quality or any more thorough assessment of need or desire. <strong>There is nothing intrinsically democratic about social media</strong>.&#0160; (Of course, we might argue that this is still an improvement on a situation where only a few large players—developers and governments, primarily—can really promote and progress projects, also through their sheer weight of capital.)</p>
<p>We should not pretend that hitching our decision-making apparatus to crowdfunding is in any way a more &quot;democratic&quot; approach, or that it will necessarily produce more appropriate or beneficial local solutions. Whilst it might increase transparency in urban development, which could lead to increased accountability, this is not necessarily a given. Any system so clearly oriented around simple accretion of financial capital will be easily gamed by those who happen to already possess large wads of said financial capital.</p>
<p><strong>So, it is indeed easier to crowdsource a revolution than a light-rail system.</strong> We can generate an Arab Spring, but when a contemporary platform like Neighborland, for example, tries to influence the likelihood of a commuter rail extension in Denver, it can attract only 51 “neighbours” backing it. Their well-meaning comments are unlikely to change the situation much—that billions of dollars would need to be found, somehow, from within a culture not predisposed to funding sustainable public transit. Neighborland is a wonderful example of a new platform, but in itself it is not enough to create a new decision-making culture for making more sustainable decisions. It might however contains the seeds of such a thing, if we see it as a sketch rather than a solution.</p>
<p><strong>For we need to bind the energy and dynamics of social media—those active citizens—to active government too</strong>. Government is partly there to take such disruptive innovations and productively absorb them into a resilient system that smoothes social inequalities and generates broader access. How should Helsinki take the spirit of Ravintolpäivä and learn from it, to shape its own regulations and culture such that the city benefits from better-quality street food, a facility with diverse urban cultures, and more active, democratic use of the street? Can we enable systemic outcomes rather than simply one-offs?</p>
<p>Equally, crowdfunding systems, by their very nature, will rarely enable a systemic change. They create a tapestry of one-offs and events, but will rarely generate city-wide services or infrastructure. While this might or might not be a problem, depending on the service in question and your point-of-view, the ability to shape legislation, governance and effective services in order to produce urban social equity (or mobility) must surely depend on watching, listening, learning, and acting in response.</p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>Active citizens 3: A suggested precursor, in shared space</strong></span></p>
<p>Perhaps an equally active form of governance, in a symbiotic relationship with active citizens, is required to take such emergent activity and productively absorb it into the city more broadly. This might look to concieve these activities as strategic rather than simply tactical, through participating. It would enable a city to stop being <a href="http://en.wikipedia.org/wiki/Maginot_Line" target="_self">Maginot Line</a>&#39;d and instead imagine how each one-off pop-up might actually be thought of as a Trojan Horse for a wider systemic change.</p>
<p>So how might we build systems that create active users within active governance, systemically? Rather than look to Silicon Valley for inspiration, we might instead look for a precedent in the unlikely location of an intersection in a small town in the Netherlands.</p>
<p>Hans Monderman&#39;s &quot;shared space&quot; traffic system, designed and implemented in many places from the 1980s onwards, removes all signage and formal “rules&quot; from intersections, instead relying on human interaction—people looking each other in the eyes and making shared decisions, in an network of interdependent trust. Cars, lorries, bikes and pedestrians come together in the same place and negotiate their way through together. Everything slows down, but nothing stops.&#0160;</p>
<p>This is the safest way to design an intersection. Add traffic lights to this, and we get more accidents, not fewer.</p>
<p>So one can design a system, or culture, in which individual actors are aware that they are part of a wider interdependent system of complex movements, with positive end results—safer, smoother—at a systemic level as well as individual.</p>
<p><strong>Wonderfully, it believes in people; it rewards trust, and demonstrates that this is viable.</strong></p>
<p>It requires governance, to help shape a city that can work in such a way (<a href="http://www.youtube.com/results?search_query=%E2%80%9Cshared+space+Monderman%E2%80%9D&amp;oq=%E2%80%9Cshared+space+Monderman%E2%80%9D&amp;gs_l=youtube.3...1997.1997.0.3430.1.1.0.0.0.0.54.54.1.1.0...0.0...1ac.2.MfMLQoggt7A" target="_self">Search YouTube for “shared space Monderman”</a> and you’ll find videos demonstrating that the Dutch examples are all relatively dense—though not high density—environments with active streetfronts and wide pavements. It wouldn’t work where peoples’ idea of urban space is something you drive through at speed. But then what would?)</p>
<p>Removing all &quot;regulation&quot; at this micro-level turns out to be the safe and effective thing to do as it relies on active citizens, not abdicating responsibility for wider systems and acting as an individual or outsourcing the decision-making to traffic lights. So removing regulation, though not governance, here implies far greater personal responsibility. It is not simply &quot;self-interested actors maximising personal gain”—it relies on smart, engaged, aware and active citizens, rather than the passive systems that smart city visions are often predicated upon.</p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>Passive citizens 1: not so smart</strong></span></p>
<p>Ironically, given Monderman’s shared space, those currently promoting the idea of “driverless cars” talk of being able to remove traffic lights due to automation. With active citizens, Monderman indicated we don’t need technology to remove the lights.&#0160;</p>
<p>Smart buildings have systems that automatically turn off lights in meeting rooms, leading to the absurd sights of people leaping to their feet and waving their arms in the air to trigger a light sensor. Look at what such systems do to us!&#0160;</p>
<p>Smart buildings also turn off our desk lamps for us. <em>Can we not turn off our own desk lamp when we leave the office?</em> We used to be able to, when energy has been more closely managed in the past. <strong>In fact, does removing the conscious decision-making element make us less likely to be aware, to care, about our impact on the environment? Are we becoming passive citizens in response to our systems getting smart?</strong> Will this approach really lead to a sustainable city for people?</p>
<p>Part of the promise of the events previously mentioned is that they begin to deal with the asymmetry of power in urban decision-making. The fact that citizens can now rapidly organise more quickly and more effectively than bureaucracies is a useful brake on the technocratic approaches typical to city governments. It could be even more useful if that new symmetry can be re-imagined as a powerful counterpoints, a creative tension which recognises the value in both emergent systems and bureaucracies with long-term responsibilities and coherent decision-making.&#0160;</p>
<p><strong>Yet with passive citizens that asymmetry of power is likely to remain intact; if not made worse, as citizens devolve their decision-making and responsibility to software</strong>, as well as city government. Their awareness of their environment diminishes in line with their ability to do something about it. While those promoting smart buildings clearly mean to Do The Right Thing, the subconscious focus on what technology can do, as opposed to what it should do, could be entirely counter-productive.</p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>Passive citizens 2: Shanghai Expo’s urban control rooms</strong></span></p>
<p>The 2010 Shanghai Expo gave us numerous insights into the state of contemporary urbanism, not all of them good. Several of the more intriguing aspects were not to be found in obvious locations, like the glamorous “architecture as soft power” national pavilions, but instead in the massive, banal spaces constructed for corporations to convey their visions of the Expo’s theme “Better City, Better Life.”&#0160;</p>
<p>These giant sheds were occupied by the likes of General Motors, Cisco, Broad, China State Shipbuilding Corporation and others. Within one such hangar, General Motors was showing a science-fiction movie about future Asian cities in which cars are the organising principle, projected in a vast movie theatre with moving rollercoaster seats.&#0160;</p>
<p>Unsurprisingly, the IT corporations preferred to see IT as central to the future of the city. While Cisco&#39;s movie had a strikingly similar plotline and mis-en-scene to that of General Motors, IT is a little harder to make a rollercoaster ride around, “The Social Network” notwithstanding. So the centrepiece of Cisco&#39;s pavilion was a mocked-up &quot;urban control centre&quot;, a &quot;NASA Mission Control&quot;-like environment but for urban processes. Cisco staff were dressed up in lab-coats, pretending to operate screens with no connections, as if they were a urban physicians, carefully nurturing and treating the city, massaging it into a safe, secure, efficient condition. Well-meaning, but ultimately a little like the main street in an old Western; all facade.</p>
<p>Wandering around these various prototypes at the Shanghai Expo in 2010, there are clearly uneasy tensions in the philosophical foundations of such an enterprise. Even given the context of an Expo in the Peoples’ Republic, the conceit of centralised control of a city felt a little awkward. <strong>Mercantile, chaotic, heterogenous Shanghai would surely resist this as much as anywhere.</strong></p>
<p>This control room or dashboard metaphor, common to most smart city visions, seems hopelessly inappropriate for cities, even if we focus on the &quot;urban systems” that a city government might ostensibly run. As Saskia Sassen points out, there is a further tendency to “make these technologies invisible, and hence put them in command rather than in dialogue with users.”&#0160;</p>
<p>The users, in fact, were also invisible. The nearest you got were the fictional narratives threaded through such pavilions, all essentially variants on Chinese soap-opera archetypes. So, equally a confection, rather than the glorious unpredictability of real life.</p>
<p>It betrays a technocratic view that the city is something we might understand in detail, if only we had enough data—like an engine or a nuclear power station—and thus master it through the brute force science and engineering. To dig into the shortcomings of that approach, philosophically, would be a book in its own right. And probably one already written by Callon or Latour, so fortunately I don’t have to. Not that I could.</p>
<p>It reminds me of the first part of Richard Wilbur’s poem “Epistemology” …</p>
<blockquote>
<p><em>“Kick at the rock, Sam Johnson, break your bones:<br /></em><em>But cloudy, cloudy is the stuff of stones.”</em></p>
</blockquote>
<p>The city is certainly cloudy, and that is its immense strength. The reason it works, in fact. That’s what continually beguiles and seduces, such that the story of humanity is essentially the story of cities, a slow reveal on a decision: of people choosing the city, over 20,000 years. The entire premise, and promise, of the urban control room is flawed in this sense—<strong>we can no more understand Shanghai through that data than we can from the sense data gathered from a long walk through the city on a sultry June afternoon.</strong> The focus on the former over the latter, as if it is a quantifiably “better” way of understanding the city, and thus managing it, generates another slew of unasked questions about the way we run cities.</p>
<p>The centralised approach to city-making, and city-running, that it implies could simply be the latest incarnation of the same sensibility that brought us the suffocating, oil-dependent latticework of suburbs, malls and flyovers of the mid-20<sup>th</sup> century city, one of the more unhelpful cul-de-sacs in human history.&#0160;</p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>Passive citizens 3: Songdo, we have a problem</strong></span></p>
<p>Well beyond the Expo’s smoke and mirrors, yet still in the East, New Songdo City rises from the wetlands outside Seoul and Incheon. It’s the clearest living example of the ideas glimpsed in that faux-urban control room in Shanghai.&#0160;</p>
<p>At the International New Towns conference in Rotterdam, &quot;New Towns, New Territories&quot;, earlier this year, the Songdo project is being discussed as an exemplar of the smart cities movement. (The other case studies are not so obviously &quot;smart&quot;—Lavasa in India, Strand East in London—although the other, PlanIT Valley in Portugal, is the work of a vocal contingent from&#0160; Living PlanIT, a start-up who are trying to deploy &quot;tech start-up&quot; culture and the principles of contemporary operating systems onto the city.)</p>
<p>Some approximation of “an operating system for the city” is being deployed there, by Cisco and others, as part of the development phase, and in broadly holistic, top-down fashion. (In fact, Cisco’s more interesting projects, perhaps in a later, more considered mode, are smaller scale discrete experiments in Amsterdam, New York, Barcelona and Nice, which integrate over time. Equally, the really interesting people at Cisco are in their IBSG group: the likes of Nic Villa, Martin Stewart-Weeks, Dimitri Zhengelis et al.)</p>
<p>To see one aspect of the problem with Songdo, let’s zoom into the apartments, sitting in their over-scaled towers surrounded by over-scaled roads.(It’s easy to critique Songdo from an architectural or urbanist standpoint—shooting fish in a barrel with a gatling gun, in fact—but let’s not bother to do that.)</p>
<p>When reviewing the promotional literature, we read Stan Gale suggesting that equipping the buildings with pervasive Telepresence videoconferencing might &quot;take anxiety out of where do I meet, need to be?&quot;&#0160;</p>
<p><em>Sorry, but is this a problem?</em> Who gets anxious about this? Meeting different people in different places is one of the joys of urban living, one of its clear advantages. A good city is replete with a variety of spaces and scenarios in which to conduct a business meeting, run a workshop, chat through a idea, share your problems, read a book, have an affair, or simply create chance encounters. The idea that dealing with physical space and finite time is problematic might actually reveal a deeper issue that a particular culture has with these &quot;constraints&quot; on humanity, a kind of machine thinking. It describes a desire to control experience, obliterating serendipity. It would subdue the city’s ability to generate encounter with the other, which as Sennett and others have pointed out, is perhaps the great “civilising” condition of cities.</p>
<p>Cisco’s Telepresence is currently best in class videoconferencing, and fairly astonishing quality—I am always amazed when I use it—but it is an entirely neutered experience compared to meeting in person. In 1976, Antony Jay wrote the classic business text <em>&quot;How To Run A Meeting&quot;</em>, noting:</p>
<blockquote>
<p>&quot;From time to time, some technomaniac or other comes up with a vision of an executive who never leaves his home, who controls his whole operation from an all-electronic, multichannel, microwave, fiber-optic video display dream console in his living room. But any manager who has ever had to make an organisation work greets this vision with a smile that soon stretches to a yawn.&quot;</p>
</blockquote>
<p>This vision is now here—you see it whenever Stan Gale, or one of his execs, addresses a conference from their apartment at Songdo—but you get the sense this vision is still being greeted with smiles and yawns, and rightly so. <a href="http://www.amazon.com/exec/obidos/ASIN/B0070GGFH4/cityofsound-20" target="_self">David Brooks&#39; <em>&quot;The Social Animal&quot;</em></a> recently deployed the benefit of another four decades&#39; worth of psychology and sociology research since Jay&#39;s essay to underscore the importance of face-to-face physical interaction.</p>
<p>For Gale and others, the physical matter of the city might be a problem to be solved through data transfer, perhaps a reflection on the semi-privatised urban culture they emerge from, but might it be the case that for most people, the physical matter of the city is not only its raison d&#39;etre, but part of its appeal, an everyday luxury, an adventure without end? Matter matters.</p>
<p>That cloudy, cloudy condition of stone is preferable to the limited affordances and experiences of the cloud. But don’t read this as a paean to a pre-digital city, or a traditional architect’s plea for the physical qualities of ancient materials—what Gale et al don’t understand is that we can now revel in both—the cloudy and the cloud—at the same time, in a real street.&#0160;</p>
<p>Moreover, we can use this example of installing pervasive Telepresence to unpick another error at Songdo; a lack of understanding of, or allowance for, the different layers of change regarding domestic technology in domestic spaces.&#0160;</p>
<p>Put simply, domestic or personal technology now tends to move extremely rapidly, whereas the fabric of domestic and personal spaces does not. While Cisco and Gale might state that &quot;building a city and deploying tech at same time is more efficient&quot;, this is from the builder&#39;s perspective, and will leave the users of the space with a potential problem when they try to unravel these layers at a later date.</p>
<p>In other words, what happens when someone wants to uninstall the Telepresence in their apartment and use Facetime or Skype instead? Or Microsoft Surface or Google Android? The average citizen would not think of uninstalling their building’s drainage systems, but installing and uninstalling software is now an everyday activity. It&#39;s sometimes an unfortunate reality, but a new iPad emerges every six months. New apps emerge every day. Literally hardwiring urban services to a particular device, a particular operating system, is a recipe for disaster, not efficiency. It betrays a lack of understanding of people all too common to large IT equipment manufacturers and property developers. (It&#39;s worth noting that the representative of Ikea&#39;s property development division, working on Strand East, spoke in markedly different ways to other property developers in the room at the INTI conference, or elsewhere in the industry for that matter. If ever an industry was ripe for &quot;radical disruption&quot; from outside, it&#39;s this one.)</p>
<p>Put simply, city fabric changes slowly yet technology changes rapidly. The key, <a href="http://www.cityofsound.com/blog/2006/05/architecture_an.html" target="_self">which we can draw from Stewart Brand’s <em>“How Buildings Learn”</em> and other texts</a>, is to enable these layers to move naturally at their different rates. All new cities are somewhat interesting at his early stage, but they are more interesting over time, as they adapt, just as all cities are. There is a worrying lack of thought about adaptation in this desire to install the consumer tech layer as if it were core building services.</p>
<p>There are numerous issues with the vision, beyond these somewhat telling examples. Another was evident in the perceptible shiver that ran through the audience when they were told that the in-apartment systems would enable a parent to track the location of their child, to ensure that they have entered the private school at Songdo. For an extra few bucks a month, that is. This is an anxiety-generating feature, a baby monitor applied to grown children and adults, that would rent asunder delicate social fabric rather than help create it.</p>
<p>Zooming out of that Songdo apartment, we might observe a Cisco exec at the conference noting that their company’s value is directly linked to the volume of internet traffic, and that building a city like Songdo, networked to the hilt, should increase that traffic. This has, inadvertent I’m sure, echoes of that earlier era of technology-led urbanism, when companies like General Motors would allegedly covertly coerce a city like Los Angeles to remove its tramway—the largest streetcar network in the world at that point—whilst lobbying for freeways and roadbuilding on a vast scale as part of an economic shift towards cars. The contemporary Los Angeles is now faced with a near-impossible task of unpicking these decisions.&#0160;</p>
<p><strong>Infrastructure companies, whether cars and highways or screens and routers, look to increase traffic on their infrastructure.</strong> It is in their interest. We can hardly blame them for trying—that’s their job—but we should not so blithely and carelessly let it drive urban strategy as it did 50 years ago.&#0160;</p>
<p>The landscape architect <a href="http://www.uwa.edu.au/people/richard.weller" target="_self">Richard Weller</a> describes the Australian versions of this outcome as “the cities that cars built when we weren’t looking”. I know what he means, but the problem is that we <em>were</em> looking.</p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>Question: Unproductive efficiency versus productive inefficiency?</strong></span></p>
<p>So both approaches—the smart city and the city that cars built when we weren’t looking—are driven by a desire for centralised control in order to produce “efficiency”, and focused on second order outcomes: energy, buildings, infrastructure, mobility. These are not the starting points for cities—let’s say culture, commerce, community, conviviality—all of which are intrinsically inefficient, or at least tangential to the idea of efficiency.</p>
<p>When it comes to obsessing over efficiency, we have a bit of previous history here. Have another look at a book like Brian Richards’ <em>“New Movement in Cities”</em>, from 1966 (<a href="http://www.cityofsound.com/blog/2009/03/soft-infrastructure-superpowers-lift09-presentation.html" target="_self">mentioned here previously</a>). It’s actually a sharp, intelligent, forward-thinking book, featuring diagrams by Warren Chalk and Dennis Crompton of Archigram, and with a relatively strong dose of humane urbanism, but it is soaked in the technocratic stance of the time. It might purport to be solving problems for citizens, yet citizens barely feature. In a short passage on getting projects done, Richards describes the necessary players involved in decision-making, and citizens are conspicuous by their absence, amidst the engineers, planners, architects and occasionally politicians.</p>
<p>Throughout the text, Richards describes the likelihood that traffic congestion will be a problem for cities in the future, then summarises a range of possible technology-led mobility solutions, generally based around building new infrastructure. Yet while his more outlandish suggestions—ranging from moving pedestrian walkways to motorways through London’s Soho to hovercrafts—did not happen, the more commonplace solution of engineering traffic to optimise and “solve” traffic would get enacted, and this is what would later be found to be highly flawed. You can look through any number of lenses—air quality, carbon, conviviality, aesthetics, productivity, safety, fatalities, stress, land value and so on—and see that the outcome of this technology-led mindset was highly damaging for our cities, and our citizens. (Some of his later predictions, such as driverless cars and automated roads are only now being deployed.)</p>
<p><em>“New Movement in Cities”</em>, in focusing almost entirely on mobility, this second-order aspect of cities, eventually reveals an emphasis on unproductive efficiency rather than productive ineffeciency.&#0160;</p>
<p>And of course beyond mobility, the same approach would be played out more broadly in architecture, planning and bureaucracy, throughout the numerous new town projects of the post-war era.</p>
<p>Decades later, smart cities have exactly the same problem. <strong>How could we develop a vocabulary, a dialogue, about how how a city could be inefficient and yet be productive, delightful and engaging?</strong> Or how inefficiency is at the heart of human communities and endeavours? Would one wish one’s marriage to be &quot;efficient&quot;? A dinner with friends to be efficient? A game of football? A great book? A walk in the park? On some occasions, perhaps, but it is hardly the point.</p>
<p>How might we avoid making the same errors, in focusing on second-order drivers, in deploying technology-led “solutions”, in trying to optimise the city, in suggesting that efficiency should be something we aspire to? Are we destined for urban planning history to repeat itself, first as tragedy, and second as tragedy as well?</p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>Question: Just what is it about today’s ecosystems that makes them so appealing?</strong></span></p>
<p>Partly due to privacy fears, but perhaps also due to a more general discomfort with engaging the messiness of humans, smart cities tend to sense objects not people, infrastructure not culture. <strong>While the drive behind monitoring infrastructure is understandable, could it be that it inadvertently generates a less human-centred approach to urban governance?</strong> You manage what you measure, after all.&#0160;</p>
<p>This would be the last thing we need. It’s not that we shouldn’t manage the infrastructure using these new tools; it’s just that we need an equal and opposite effort in terms of understanding and engaging with new patterns of living—not simply patterns of movement, or of resources, but with urban culture, with people.</p>
<p>Even then, the idea that we can produce a harmonious equilibrium in urban systems through systems thinking may be fundamentally flawed. These technologies are not necessarily neutral, of course, in that they often betray the cultural conditions they have been created. There are particular dynamics to both social media and crowdsourcing/funding, which we must be aware of if we are to deploy them as a part of our interface with government, the city, or the neighbourhood.</p>
<p>The filmmaker <a href="http://adamcurtisfilms.blogspot.co.uk/" target="_self">Adam Curtis</a>, in <em><a href="http://en.wikipedia.org/wiki/All_Watched_Over_by_Machines_of_Loving_Grace_(TV_series)" target="_self">&quot;All Watched Over By Machines Of Loving Grace&quot;</a></em>, powerfully connected the machine logic of the internet to a form of “neoliberal” ideology, based on a belief in self-righting automated systems and markets. Curtis took apart the idea that “natural ecosystems”, the biological constructs partly underpinning this philosophy, inherently tend towards harmonious equilibrium. In fact, both markets and natural systems are apparently riven with ruptures, waste, inefficiencies and conflict. <strong>Thus the idea of feedback loops, common to many smart cities projects, may well be hopelessly insufficient in terms of reversing our carbon-intensive patterns of living, for instance.&#0160;</strong></p>
<p>Cities, like actual natural ecosystems, are not steady state systems; as capital generators, they tend towards disequilibrium, they move in violent ruptures, they are wasteful, just as nature is. Their progress tends to be produced through cascades of tumbling imbalances, constantly resisting a steady-state. But this is precisely why they work, and why they attract people. It might be worthwhile pondering why that is, and working with the grain rather than against it.</p>
<p>Instead, however, smart cities tend to run counter to the conditions of urban culture, just as traditional software models struggle to comprehend and mimic the complexity of a savannah. When software does achieve that complexity, which it increasingly can, it moves beyond human comprehension. As <a href="http://about.me/slavin" target="_self">Kevin Slavin</a> has said of trading software, we are now writing code that we cannot read. Here, <strong>the machine thinking that often underpins sustainable city visions could be seen as the equivalent of a kind of &quot;high-frequency trading for urban processes&quot;</strong>. as well as an overly simplistic reading of ecosystems.</p>
<p>Is this really the condition we want in our cities as well?</p>
<p>It is still early days, yet the success of social media means that it is being thoroughly critiqued. As a result, we have to be aware that it may be exemplifying characteristics that are in direct conflict with the idea of a &quot;new toolkit for 21st century urban democracy&quot; or “the sustainable city”.</p>
<p>For NYU/Harvard Law School researcher <a href="http://cyber.law.harvard.edu/people/amarwick" target="_self">Alice Marwick</a>, social media implicitly and explicitly encourages what she calls “status seeking behaviour” within a “competitive attention economy”. Her critical research describes the effects of transposing a Silicon Valley-derived model of neoliberal, free market principles onto our social organisation, our relationships with our self, and each other. What happens when we deploy this ideology in the cities of, say, Northern Europe, Sub-Saharan Africa, the Asian Sub-Continent, Latin America, the Far East? Each has a completely different set of preferential social structures, governance structures, living and working patterns, cultures of decision making.</p>
<p>But let&#39;s assume, just for a moment, that this airdrop of transposed culture via software may be harmless, in terms of these wider cultural effects. But Marwick’s key point—the creation of the selfish, “attention economy”—cannot be ignored in the context of urban culture, and particularly sustainable urban culture. Even the proponents of social media talk of the “attention economy” as if it is just ipso facto a natural state of organisation. But at its most basic level, sustainability necessitates a selflessness, a scaling of empathy beyond one’s immediate concerns, a scaling in terms of space, to those immediately affected by our changing of the climate, and time, to those subsequent generations who have to live with the consequences of our actions over the next few years. At the very least, this is surely in tension with “status seeking behaviour” and we need to critically assess how, why and what to do about it.</p>
<p>Similarly, the basic premise of crowd-funding tends to rely, implicitly at least, on the idea that a kind of bottom-up “civic entrepreneurship” should be the primary motor driving urban development. As this is generally in opposition to state-led innovation, this can also be seen as part of a certain kind of ideological backdrop. In the UK, it could be seen as a <a href="http://en.wikipedia.org/wiki/Big_Society" target="_self">Big Society</a>-driven abnegation of urban services, in favour of 1000 startups blooming to take care of the city. Crowd-funding becomes a useful substitution for municipal taxes, offering up obvious political opportunities.&#0160;</p>
<p>So these political aspects of &quot;smart city&quot; thinking could embody both a centralising technocratic dynamic, albeit aligned to increasingly privatised delivery, and a decentralised individualist dynamic, with urban services delivered by a rag-bag of third sector, private sector and diminished public sector, or not at all.&#0160;</p>
<p>It is clearly of our time, and with such a strategy Your Mileage May Vary, as they say.</p>
<p>Numerous thinkers, from Zadie Smith to Malcolm Gladwell to Douglas Rushkoff, have written of the implicit limits, or even dangers, when we are unthinkingly uncritical of this culture. Equally, many simply don&#39;t get it, much as Baroness Susan Greenfield simply doesn&#39;t get video games. And for every Gladwell, there&#39;s a Clay Shirky or Steven Johnson, thinkers capable of genuinely engaging in constructive critique. You can choose which side of the Shirky vs Gladwell debate you land on, but at least it&#39;s happening. Personally I see huge value in well-designed social media, and the cultures it might enable. But there are two issues. The first is that the value might be enabled only when subjected to considered critique, continuous exploration, asking the right questions, and engaging with the outcomes in ongoing, iterative fashion. The second is that you have to do apply all of this to anything social media touches too, such as the city.</p>
<p>We should not let the idea of smart cities continue to be so untroubled by informed, constructive critique.</p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>Suggestion: A prototyping culture, beyond IT</strong></span></p>
<p>Yet critique or not, there is only one true way to find out what balancing act might tend towards sustainable outcomes, and that is to try it. But as &quot;trying it&quot; means considered, iterative prototyping of user-centred platforms, as local experiments that can nonetheless scale, and produced by designers, coders and product managers that understand both The Network and The City, do we have the right people in place, able to take the right approaches?</p>
<p>Sadly, most city officials have absolutely no idea how to do any of this, with a handful of honourable exceptions. Their culture—and thus their operations, attitude, behaviour, skillset—is from another age. Hence we see the systems integrators of the previous age—let&#39;s call it &quot;The Age of <a href="http://en.wikipedia.org/wiki/Information_technology" target="_self">IT</a>”—mercilessly exploiting this condition through anachronistic procurement cultures designed almost exclusively for these players.&#0160;</p>
<p><strong>The results will be the same as for the Age of IT</strong>: over-scaled monolithic vertically integrated systems that take too long to develop, are too expensive to buy and maintain (by orders of magnitude), and have an appalling overhead on anyone that tries to use them. Exactly what image does the phrase “government I.T. project” conjure up, after all? (By way of comparison, observe how the &quot;start-up within the UK Cabinet Office&quot;, <a href="http://digital.cabinetoffice.gov.uk/" target="_self">Government Digital Service</a>, is laying waste to a previous generation of IT systems in a matter of months, creating elegant, simple and user-focused systems using the same agile methodologies and user-centred design that build the likes of Amazon and Twitter, and saving millions upon millions of pounds along the way. You cannot outsource this: it is strategic. We have even more reason to take the same intrinsically internet-age &quot;small pieces, loosely joined&quot; approach to our urban governance systems, given our understanding of the way cities work. But are we?)</p>
<p><strong>This is not about &quot;IT&quot; anymore.</strong> A 14 year-old girl updating her Facebook status on her iPhone while she&#39;s walking down the street is not really &quot;IT&quot; What we used to call &quot;IT&quot; is now too important for the &quot;IT&quot; department. These technologies are part of cultural and strategic approaches, and have long since shifted from the back room to front of house, to the top table.&#0160;</p>
<p>Observe how Amazon and Net-A-Porter are changing the physical fabric of the high street; how Nike+ is changing how we exercise; how Kickstarter is changing the structure of the creative industries; how Apple has changed media; how Google is altering basic literacy, almost extending cognition; how Facebook and Twitter helped drive last years&#39; Peak News events.&#0160;</p>
<p>Compare to your average municipality’s IT department: do we have the right people, the right culture, around the decision-making table?</p>
<p>We can now easily see the problem when city governments attempt to engage with this. Trained by pervasive, professionally-produced experiences like Facebook, citizens can now see that almost all the efforts of municipalities thus far are embarrassingly bad in comparison. Politicians can see this too, as we all now use these systems. The issue is with people and culture, not the role of government itself. it’s not that they can’t do it; it’s that <em>they can’t do it</em>. They literally do not know how to. They are currently not equipped to work in this way, with these tools, skillsets and attitudes. <strong>They need to build a culture of doing, rather than outsourcing, but most do not yet realise that they now have competition.</strong> The UK’s Cabinet Office appear to understand that now, and perhaps a few municipalities like New York and Chicago, but they are an exception, and even in the best cases have not reacted enough.</p>
<p><strong>IT was once a service like catering or postage, to be procured. IT, or what replaced iT, is now at the core of almost everything.</strong> It is becoming the medium for a government’s relationship with their citizens. The systems and cultures that municipalities are looking to take advantage of are not outsourced, they are not put together by “systems integrators”, they are not IT. They are quite different. The platforms of Facebook, Twitter, Google, Amazon are not outsourced; they are owned and operated, designed and researched, coded and maintained, communicated and supported, almost entirely in-house.</p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>Suggestion: Active city government</strong></span></p>
<p>Yet there is no fundamental reason why municipalities could not work in this way, in terms of its strategic positioning, function, history. It is a question of talent, which in turn is a question of motivation. There are plenty of examples of innovation within a public sector environment. From a tiny sliver of personal perspective alone, I can speak of GDS above, or the BBC ten years earlier. <strong>You cannot tell me that those core public sector environments were not &quot;innovative&quot;</strong>. Beyond that, <a href="http://www.helsinkidesignlab.org/blog/week-186" target="_self">Sitra&#39;s recent Helsinki Design Lab event</a> was set up to explore further examples, from IDEO’s work with the US Government to Mindlab’s at the heart of the Danish government.</p>
<p>Yet you do not hear enough about them as it runs counter to contemporary political thinking, much contemporary economic thinking, and they can also easily be outweighed by the number of counter-examples (as I just did in the previous section.) They illustrate, however, that it is entirely possible, it is going on, and thus there are no structural reasons why it should not happen. Such good work, in a public sector environment, is usually not in opposition to the idea of innovation in the private sector—often, the people involved have significant experience of both sectors, and tend to blur the boundaries between them, driven instead by “the mission” in either case (a discussion for another day.)</p>
<p><strong>We need to hear more about such examples of public sector innovation</strong>, however, as Western culture is soaked in a form of propaganda suggesting that public sector is slow, big, cumbersome and entirely devoid of innovation. This is genuinely damaging.</p>
<p>If you want to get things done, do you turn to government as your potential employer? Not at the moment, not often enough. Yet what if government was directly and boldly prototyping new versions of itself, using these new technologies? It might be that a sense of public good, of civic responsibility, can be found within a re-calibrated approach to municipal government. If we dovetail active citizens with active governments, building the interactions of both around these new logics but balancing their inherent biases, we might discover better cultures for producing good, sustainable decisions.</p>
<p>As <a href="http://www.helsinkidesignlab.org/people/marco_steinberg" target="_self">Marco Steinberg</a> says, we currently have 18th century institutions facing 21st century problems. Contemporary municipal governments are entirely redolent of their 18th or 19th century counterparts, despite some facile difference. Drop an employee from, say, 1890s Helsinki city council into their 2012 equivalent and they&#39;d recognise much of what they saw. Some of the clothes might be different, there would presumably be more women around, and they might wander about those small glowing rectangles people keep looking at, but they&#39;d see a department of planning, a city engineer, a schools departments and so on, run in largely similar ways (although arguably rather more risk averse).&#0160;</p>
<p><strong>Yet we are in a radically different urban condition.</strong> Not just in terms of built fabric, whose significance is overplayed due to its sheer obviousness, but in terms of our highly interconnected patterns of living amidst the radically different systems that produce the contemporary city, localised and globalised simultaneously. The nature of our challenges are entirely different, with climate change the clearest example of that.</p>
<p>Even accepting that cities evolve—and slowly—urban sustainability will require a transformation. To produce transformative products or services, you must transform organisations. So you must to redesign the city’s organisations, recalling Peter Drucker’s insight that “culture eats strategy for breakfast”, in order to be able to redesign the city. If we want the city to produce a different outcome, it will take a different kind of organisation running it, responsible for it.&#0160;</p>
<p>The very idea of the city as a public good fundamentally rests on this. And the very idea of the sustainable city relies on understanding that the city is a public good.</p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>Possibility: NIMBY to YIMBY</strong></span></p>
<p>There is genuine possibility in the new tools, after all. Several of the emerging crowdfunding projects indicate that they might be able to generate significant funds, certainly enough to build serious funding at the start of projects, which is often when they fail, alongside mechanisms for otherwise backing, discussing or sharing best practice.&#0160;</p>
<p>City halls rarely have a meaningful “suggestions box” on the front door, and these new platforms could be just that. They might reverse a Not-In-My-Backyard (NIMBY) tendency such that it becomes a YIMBY—Yes In My Backyard!—through genuine collaboration and participation in city-making, rather than the dread-word “consultation”.</p>
<p>Few urban interventions currently leave traces of their progress for others to follow, copy, learn from. The internet is built to do that, meaning that you might be able to “view source” for every urban project. Urban activism is usually the province of someone who wants to give up every weekend for years, just to get something done, learning from scratch in each instance as there are no breadcrumb trails to follow from previous projects. With new platforms deployed, activism might become something more akin to plain old urban activity, in which many if not all citizens are more deeply woven into the fabric of their city’s decision-making. <strong>Entirely new governance models are implied as a result, with far more frequent, open and active engagement than a vote in the municipal elections every four years</strong>. There are different responsibilities both sides here.</p>
<p>Practically and technically, you can read the settling patterns in social media platforms as a blueprint for what a 21<span style="font-size: 8pt;"><sup>st</sup></span> century “social service” might be, whilst also deriving some of the changes in institutional cultures required. And the mode of production in prototyping—starting small, pivoting and scaling, as all contemporary systems do—suggests how we might build. (<a href="http://brickstarter.org/" target="_self">Brickstarter</a> was a manifestation of this thought.)</p>
<p>For if sustainability fundamentally requires us to think long-term, and with the welfare of others in mind, we must surely create decision-making cultures that not only take into account but actively counter the tendencies of these swirling vortices of individualism and short-termism. If, after Eliel Saarinen, we need to think of our house in terms of the neighbourhood, of the neighbourhood within the city, of the city symbiotically connected to its wider region, and so on, we will have to actively build systems with this in mind. <strong>Like judo, we might need to use the powerful dynamics of social media against itself</strong>. Otherwise these forces pulling in opposite directions may cause the system to shear itself apart.</p>
<p>In which case, <strong>what possible models for cooperative urban governance might emerge from such a culture?</strong> Do we need a city in which citizens understand that they are part of a wider system, and behave accordingly, to take a more holistic view beyond individual drivers, to be actively engaged rather than passively observed and “fed back to&quot;, with governments equally engaged as collaborative actors rather than passive procurers? What is the equivalent of Monderman&#39;s dynamic, responsible “shared space” system?</p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>We do need smarter cities</strong></span></p>
<p>These are questions we cannot fully answer yet, but we should ask them nonetheless.</p>
<p>Yet beyond governance, it’s also clear that much of our existing urban infrastructure is indeed <em>broken</em>. It is, in comparison to &quot;smart&quot;, mostly dumb. The way we procure, develop and construct buildings is well past its &quot;use by&quot; date, and construction, as an industry, is so cumbersome as to be largely ineffective. The way we run our cities tends to be pathetically anachronistic, largely oriented for the 19<span style="font-size: 8pt;"><sup>th</sup></span> century rather than the 21<span style="font-size: 8pt;"><sup>st</sup></span>. Bureacracies cannot seem to scale empathy and engagement, and often seem unable to turn strategy into delivery. The strategic drivers for decision-making about patterns of living and working are either non-existent or not understood. <strong>Our shared civic culture is being allowed to atrophy in the face of a powerful hegemony reinforcing a sophisticated individualism as its organising principle</strong>.</p>
<p>And we do need to deploy the clear promise of technology into our cities, using a &quot;post-IT&quot; culture to unlock its immense potential to address some of these issues. I, and many others, have written enough about the promise of the smart city in this respect elsewhere—we don&#39;t need to go into it here. <strong>There are clear benefits to a more contemporary urban infrastructure—in efficiency, yes, but also in firmness, commodity, delight</strong>.&#0160;</p>
<p>But as well as a new urban hardware and software, it’s in this interface between engaged citizens and engaged government that its real promise may lie, as evidenced by the way that citizens are racing ahead while the smart cities movement lags behind. This medium, as long as it does not put technology in the driving seat, might be immensely useful in terms of introducing genuine efficacy and verve into the way the public sector works, reducing the cost of government massively whilst increasing its positive impact, rebuilding an meaningful civic interface with citizens.</p>
<p>Looking at these emerging patterns described above, <strong>we can read a sketch full of promise, indicating the value in an active, engaged government and active, engaged citizens</strong>. It will not be enough to have emergent communities without a transformed attitude within bureacracy, just as the Gov2.0 movement has to be more than a Web2.0 front-end plastered over Gov1.0.</p>
<p>The challenge with smart cities, just as with most aspects of cities, is in our various cultures of decision-making. Steven Johnson&#39;s latest book <em>&quot;Future Perfect&quot;</em>, on what he calls &quot;peer progressive&quot; political systems that are built with The Network in mind also provides a useful primer on the emerging thinking here. Similarly, the “hybrid forum” approach being pioneered by architects Elemental and strategic communications firm Tironi in Chile. There, new collaboration methods are transforming the practice of masterplanning, architecture and civic engagement. They are radical in comparison to today&#39;s approaches yet seem entirely common-sense when you dig deeper. We might learn a a lot.</p>
<p>In order to unlock the potential of technology in the city, we must explore a wider frame of reference than that offered by IT corporations and property developers, where a tangle of vested interest and path dependency can only give us neutered, potentially damaging and ironically rather outdated ideas.<strong> Let&#39;s be careful not to make the same mistakes we made 50 years ago,</strong> which we are still paying for, and still making.</p>
<p>&#0160;</p>
<p><span style="font-size: 11pt;"><strong>Closing questions: the city as public good</strong></span></p>
<p>Finally, yet more questions. &#0160;</p>
<p>Might we enable patterns of living that recognise that cities, as the richest expression of the diversity and dynamism of human culture, thrive on the very unpredictability and inefficiency of citizens, that the city is in itself a form of resistance to steady state systems and refuses to settle on “natural equilibriums”, that it can nonetheless be guided and shaped by shared governance cultures based on its incompleteness, openness and sense of possibility, and recognition that it is a process, not an accretion of infrastructure?&#0160;</p>
<p>Do we have smart citizens at the core of our smart cities? Are our governance cultures and tools in the right shape to genuinely react to the promise of The Network?</p>
<p>Are we sure that these ideas—drivers and enablers, unpredictability and inefficiency, prototyping and pivoting, personal and civic responsibility, meaningful activity from citizens and government, the city as public good—are part of the smart city vision?&#0160;</p>
<p>For these are all part of what makes a city work, what makes a good city, and what will make a genuinely resilient city.&#0160;</p>
<p>Understanding that might be a smart thing to do.</p><div class="feedflare">
<a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=MuaGw42v9Sg:TTceIPhCxYU:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=MuaGw42v9Sg:TTceIPhCxYU:7Q72WNTAKBA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=7Q72WNTAKBA" border="0"></img></a>
</div>]]></content:encoded>


<dc:subject>Adaptive Design</dc:subject>
<dc:subject>Cities &amp; Places</dc:subject>
<dc:subject>Essays</dc:subject>
<dc:subject>Politics</dc:subject>
<dc:subject>Urban informatics</dc:subject>

<dc:creator>Dan Hill</dc:creator>
<dc:date>2013-02-01T21:28:49+02:00</dc:date>
<feedburner:origLink>http://www.cityofsound.com/blog/2013/02/on-the-smart-city-a-call-for-smart-citizens-instead.html</feedburner:origLink></item>
<item rdf:about="http://www.cityofsound.com/blog/2012/11/fabrica.html">
<title>Journal: Fabrica</title>
<link>http://feedproxy.google.com/~r/cityofsound/JuiP/~3/9U5nLCoOT_Y/fabrica.html</link>
<description>I’m writing this flying over the Alps, on BA579 from Venice to London. It’s a big blue sky lit by hazy sunshine, and the Alps look unreal. We just flew a few metres over a contrail, a perpendicular arc into...</description>
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<p>I’m writing this flying over the Alps, on BA579 from Venice to London. It’s a big blue sky lit by hazy sunshine, and the Alps look unreal. We just flew a few metres over a contrail, a perpendicular arc into the sunlight, hundreds of kilometres long, a surprisingly distinct temporary structure of curly vapour. Best Installation Ever.</p>
<p>I’m on my way to New York, to help judge the <a href="http://awards.ixda.org" target="_self">IxDA interaction design awards for 2012</a>. While I’m looking forward to that very much, the timing is not ideal I must admit. I said “yes” to Jen Bove and Raphael Grignani, and to a speech at the Barcelona <a href="http://www.smartcityexpo.com/en/" target="_self">Smart City Expo</a> which is hot on its heels on Tuesday, months ago while I was still <a href="http://www.helsinkidesignlab.org/blog/weeks-190-191" target="_self">Strategic Design Lead at Sitra</a>, in Helsinki. But things change.</p>
<p>As of this week, I live in northern Italy, in Treviso, and I’ve just been appointed&#0160;<strong>CEO of <a href="http://fabrica.it" target="_self">Fabrica</a></strong>.</p>
<p>I feel incredibly honoured, proud and happy to be in this new role. Fabrica is an extraordinary organisation. Many places describe themselves as “unique”, and of course they all are, but they can usually be seen as a type of school, or studio, or commercial practice, or research centre. Fabrica, hovering between all these things yet resisting the urge to fall into becoming any one of them, is perhaps genuinely without parallel. This makes it a little tricky to explain, but this ability to avoid pigeonholes is also to its credit.</p>

<p><a href="http://fabrica.it" target="_self">Fabrica</a> is a communications research centre, <a href="http://www.benettongroup.com/group/profile/fabrica" target="_self">part of the Benetton group</a>, situated in the Italian countryside, near Treviso, and not far from Venice. Behind that definition lies a hybrid organisation—part communications research centre, yes, but also part arts and design school, part think-thank, part studio. My kind of place.</p>
<p>Founded and primarily funded by Benetton, it started in 1994, running alongside and then producing <a href="http://www.colorsmagazine.com" target="_self"><em>Colors</em> magazine</a>, as one of Benetton’s many pioneering and hugely influential social and cultural projects. Its core model has persisted over that time; staff plus “residents”; around 70 people in total. Residents get a one-year scholarship to attend, covering travel, fees, accommodation and basic living allowances, and they gain entrance on the strength of their portfolio and a two-week trial. This means they are a diverse, talented bunch, different nationalities, different backgrounds. They are usually 25 years old or under, and must have strong technical abilities and good English before they join.</p>
<p>The work Fabrica does is internal and external, public and private, work for clients as well as personal projects, work for Benetton and many others (from UN to World Bank to World Health Organisation; commercial clients as well as governments, NGOs and cultural sector.) Disciplines include graphic design, interaction design, product design, film, photography, music, sound, animation, illustration, advertising, media and publishing, data visualisation, urban informatics, code, industrial design, journalism and more besides.</p>
<p>The work is globally renowned—for example, a very incomplete list of Fabrica output would note that products are exhibited at the Milano Salone, films have won Academy Awards, campaigns have won Cannes Golden Lions, interactive artworks have won Webbys and exhibited in V&amp;A’s Decode, visual communication work has won Graphis Platinum awards amongst others, and publications include the legendary <em><a href="http://www.colorsmagazine.com" target="_self">Colors</a></em>, a huge influence on my generation and those that have followed. Its workshop series has documented and shared the work of great and emerging talents for over a decade.&#0160;</p>
<p>It’s a little unfair to select from 600 or so alumni <em>“Fabricanti”</em> who have been through Fabrica, so I won’t do it, but people in that external network have gone on to do amazing things; it’s something I want to work with, and bring a little closer to Fabrica.&#0160;</p>
<p><em>(But please allow a quick plug for former residents&#0160;<a href="http://www.danielhirschmann.com" target="_self">Daniel Hirschmann</a>&#0160;&amp;&#0160;<a href="http://www.bethanykoby.com" target="_self">Bethany Koby</a>&#0160;and their wonderful<a href="http://technologywillsaveus.org" target="_self">Technology Will Save Us</a>&#0160;project—<strong><a href="http://www.kickstarter.com/projects/440858363/the-bright-eyes-kit-diy-led-glasses-to-inspire-pro" target="_self">please support their Kickstarter campaign here!</a></strong>)</em></p>
<p>Some of you may already know that Fabrica is also an extraordinary bespoke building and grounds, designed by <a href="http://en.wikipedia.org/wiki/Tadao_Ando" target="_self">Tadao Ando</a>, comprising a 17<span style="font-size: 8pt;"><sup>th</sup></span>&#0160;century villa, renovated and retrofitted, with a purpose-built sunken building alongside. It’s difficult to describe, but rather photogenic to say the least. (The quick snaps below are of places that hardly need <a href="http://instagram.com/cityofsound" target="_self">Instagram&#39;s</a>&#0160;heavy-duty filters to save them, but I have to resist the urge to waste time photographing the building, so they will do).</p>
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<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8189589603/in/photostream/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee5354b7c970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee5354b7c970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
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<p>I&#39;m thrilled with the possibility of having this space to work with, to develop, to open up. I’m also interested in Fabrica’s activities extending into other spaces too (we already have <a href="http://www.fabricafeatures.com/shops/" target="_self">small shop/exhibition spaces in Lisbon and Bologna</a>.)</p>
<p>More importantly though, the people—staff and residents—are excellent, with a range of skills both broad and deep. I gave a quick speech on Monday, at the end of my first day, and although I softened them up slightly with local <em>prosecco</em> from this fecund region, it was encouraging and inspiring to see the sparkle in their eyes, and to share their excitement about our next steps.</p>
<p><em>(The <a href="http://fabrica.it" target="_self">current website</a> clearly gives you little of all this, we know; it is essentially number one on the to-do list, fear not.)</em></p>
<p>On Wednesday, <a href="http://www.benettongroup.com/archive/press-release/under-chairmanship-alessandro-benetton-fabrica-enters-future" target="_self">Alessandro Benetton was announced as the new Chairman of Fabrica</a>, and Alessandro outlined his vision for Fabrica before the press, as well as announcing me as CEO, and <a href="http://www.rca.ac.uk/Default.aspx?ContentID=507540" target="_self">Paul Thompson, rector of the Royal College of Art</a>, as the Chair of Fabrica&#39;s new Advisory Board. Again, it’s a great honour to inherit Alessandro’s inspiring vision for Fabrica, and to be trusted to take that forward.&#0160;</p>
<p>I’ve also had the great pleasure of getting to know Paul over the last few months. While I might occasionally characterise Fabrica as the pugnacious upstart, or startup, whose agility might challenge the established institutions, it’s clear we also have a lot to learn from the likes of the exemplary creative centres like the RCA, and from Paul in particular. His experience across the Design Museum, Cooper Hewitt and the RCA will be invaluable, and he’s beginning to draw together a great advisory board. Watch that space. I’m also exploring various newer models for learning environments, from Strelka and CIID to MIT Media Lab and School of Everything, alongside the centres of excellence like the RCA and others. My father and mother, more of an influence on me than perhaps even they realise, were both educators and learning environments and cultures may well be in my DNA, to some degree.</p>
<p>But the other idea that I’m incredibly interested in pursuing at Fabrica is that of <strong>the trandisciplinary studio</strong>. You can see me working through this theme in a <a href="http://www.cityofsound.com/blog/2012/10/garage-of-small-things-nanotechnology.html" target="_self">recent post on nanotechnology and design</a>, and I hope Fabrica might be able to exemplify this idea more than anywhere else. Part studio, part school, part business, with a wide range of skills and perspectives on hand, and small and young enough to be light, agile, nimble and motivated, we need not be bound by the legacy of other places. <a href="http://www.cityofsound.com/blog/2012/08/dark-matter-trojan-horses-strategic-design-vocabulary.html" target="_self">As regular readers will know</a>, I’m inspired by the thought that we have 19<span style="font-size: 8pt;"><sup>th</sup></span>&#0160;century institutions facing 21<span style="font-size: 8pt;"><sup>st</sup></span>&#0160;century problems (thanks variously to <a href="http://www.helsinkidesignlab.org/pages/team" target="_self">Steinberg</a> and <a href="http://en.wikipedia.org/wiki/Jocelyne_Bourgon" target="_self">Bourgon</a>) and that we might need new approaches to problems like <strong>climate change, demographic timebombs, obesity and healthcare, education, social &amp; cultural diversity, urbanisation, public decision-making, an economics of shared value</strong> and so on. Our existing tools, practices, approaches are largely insufficient, if not broken; we must make new ones. The Benetton Group wisely set up Fabrica as a place to explore many of these issues; they are as relevant now as they were in 1994, if not more so.</p>
<p>With this stew of perspectives at hand, we might find project teams that contain graphic designers, industrial designers, neuroscientists, coders, filmmakers, for instance. Or product design, data viz, sociology, photography, economics, architecture and interaction design, for instance. These small project teams are then extremely well-equipped to tackle the kind of complex, interdependent challenges we face today, and tomorrow. We know that new knowledge and new practice—new ideas and new solutions—emerges through the collision of disciplines, at the edges of things, when we’re out of our comfort zone. Joi Ito, at the MIT Media Lab, calls this approach <a href="http://www.wired.co.uk/magazine/archive/2012/11/features/open-university" target="_self">“anti-disciplinary”</a>.</p>
<p>This studio works for clients, if we can find a creative match between your interests and projects and those that push forward Fabrica’s broad agendas and also help develop our practice, our studio.&#0160;<strong>Do get in touch if you want to talk about that</strong>. Fabrica has often done this in the past, and we aim to do much more of it in future. We&#39;re open to suggestions!</p>
<p>We also produce self-directed research, <a href="http://www.fabricafeatures.com" target="_self">products</a>, personal projects, editorial titles, artefacts, installations and exhibitions too, and the fluid relationship between exploratory personal work and public or client work is to be encouraged.&#0160;</p>
<p>I am of course, given <a href="http://www.cityofsound.com/blog/2002/01/about_cityofsou.html#full_biography" target="_self">my background</a>, particularly interested in picking apart how code—or <em>The Network</em>, perhaps—is shaping contemporary culture, “culture” as in cultural production and consumption, but also ways of life, patterns of living, working, playing, organising. Code changes how we think about objects, spaces, cultures, services, communities, practice, everything. We have to fuse it into all our work, one way or another, (although this could equally mean non-Networked, un-coded responses, of course.)&#0160;</p>
<p>This is work we particularly want to expand, so&#0160;<strong><a href="http://fabrica.it/apply" target="_self">if you’re interested in being a resident in our interactive area, please apply</a></strong>; equally, if you run a school or studio, please encourage your students or younger staff to take a look—it would be a wonderful development programme for them.</p>
<p>Equally though, I aim to bring architecture and urbanism into the set of lenses we have to work with. Situating spatial intelligence alongside the various perspectives already in-house, and working on projects that scale from pixel to neighbourhood and back again, should be incredibly interesting and worthwhile. I’m also interested in a kind of <em>“gruppo <a href="http://www.cityofsound.com/blog/2012/08/dark-matter.html" target="_self">dark matter</a>”,&#0160;</em>continuing to unpack the transformative strategic design ideas that we were exploring at Sitra. That might include picking up some of the threads in projects like Brickstarter, or developing the kind of practice I wrote about in <em><a href="http://www.strelka.com/press_en/dark-matter-and-trojan-horses-dan-hill/?lang=en" target="_self">Dark Matter and Trojan Horses</a></em>, and we developed for <em><a href="http://www.cityofsound.com/blog/2011/09/in-studio-recipes-for-systemic-change-helsinki-design-lab.html" target="_self">In Studio: Receipes for Systemic Change</a></em>.</p>
<p>This is not to say any of the existing disciplines or approaches are downplayed; as I said at the press conference, none of these things disappear. For example, photography is as relevant, interesting and powerful as it ever was, perhaps more so, despite being almost two centuries old. We want to expand our range of skills and perspectives, not lose any; all are valuable, and often in new ways. It&#39;s more about how we combine them to take forward <a href="http://www.colorsmagazine.com" target="_self">Colors</a>, <a href="http://www.livewindow.it" target="_self">Live Windows</a>, <a href="http://www.fabricafeatures.com" target="_self">Fabrica Features</a>, campaigns, products, new projects, partnerships ...</p>
<p>Finally, a note on Andy Cameron, who was an executive director here until relatively recently, as well as developing the interactive work over the last decade, and who <a href="http://www.creativereview.co.uk/cr-blog/2012/may/andy-cameron" target="_self">sadly died this year</a>. I never knew him, though our circles overlap heavily. But my first steps along a path which leads me here were encouraged by two things he did: the <a href="http://en.wikipedia.org/wiki/Antirom" target="_self">Anti-Rom CD-ROM</a>&#0160;(1994), which I picked up as soon as it was available and still have somewhere, as well as the paper he wrote with Richard Barbrook, <a href="http://en.wikipedia.org/wiki/The_Californian_Ideology" target="_self">“The Californian Ideology”</a> (1995). Both shaped my thinking hugely, and rarely for the products of those early days, continue to do so. I hope we will be able to do justice to Cameron’s work and ideas within Fabrica’s future, as much as he did for its recent past.</p>
<p>I could talk more, but it’s time to roll up the sleeves and get to work. Fabrica has been in good hands for many years; it’s now my honour, and my challenge, to take it forward. With an emphasis on connecting, partnering, broadening its range and increasingly opening up, Fabrica is open for business, in that sense.&#0160;</p>
<p><strong>Do get in touch if you are interested in partnering with us on projects, or if you want to talk to me about any aspect of what we do now, and what we might do next.</strong></p>
<p>And if you like the idea of working in that way, on that mix, in this place—in other words,&#0160;<strong>if you want to be a Fabrica resident—<a href="http://fabrica.it/apply" target="_self">apply apply apply</a>!</strong>&#0160;Fabrica is already incredibly special, but we need you to help take it forward.</p>
<p>The details of our particular mission at Fabrica will begin to emerge over the next few months, through its projects—for now, I’m talking with staff, with partners, with current and former residents, with Alessandro, Paul and the Fabrica board.</p>
<p>Again, do get in touch if you want to work with us:&#0160;dan dot hill at fabrica dot it</p>
<p><em>Grazie mille!</em></p>
<p>&#0160;</p>
<p><strong>A personal postscript:</strong></p>
<p>With the benefit of hindsight, you can see this move, and this project, traced in numerous other exploratory entries here. And not simply in terms of design practice, learning, spaces, media, organisations and so on—though in some senses Fabrica does tie together many of the threads I’ve been exploring in over a decade of words and images here. But also Italy, with sporadic entries on subjects ranging from <a href="http://www.cityofsound.com/blog/2005/07/the_italian_gro.html" target="_self">grocers shops</a> to <a href="http://www.cityofsound.com/blog/2012/10/20th-century-gestures-supplement-to-the-italian-dictionary-munari.html" target="_self">gestures</a>, <a href="http://www.cityofsound.com/blog/2011/09/festa-2010-turin.html" target="_self">political rallies</a> to <a href="http://www.cityofsound.com/blog/2006/08/trenitalia_trav.html" target="_self">Italian trains, interaction design and travel writing</a>, from my work <a href="http://www.cityofsound.com/blog/2012/10/domus-magazine-ipad.html" target="_self">with Domus</a> to that <a href="http://www.low2no.org/blog/low2no-smart-services-workbook" target="_self">with Experientia for Low2No</a> and my many other friends here in Italy. Huge thanks in particular, though, to <a href="https://twitter.com/joseph_grima" target="_self">Joseph Grima</a> for his support and encouragement. As ever, I owe him a lot.&#0160;</p>
<p>C and I are thrilled to be moving our family to Italy. And so close to Venice, home to the world’s first virtual empire, a breathtaking urban experience, and somewhat over-endowed with the cultural capital of a major world city despite its current size. And living in <a href="http://en.wikipedia.org/wiki/Treviso" target="_self">Treviso</a>, a medieval walled Middle European city, our new home gives me another urban form to explore, after living in the Modern-era Social Democratic Nordic City of Helsinki, the Post-Colonial proto-Austral-Asian Sprawl of Sydney, the contemporary globalised&#0160;city-state of London, and the revolutionary industrial, and then post-industrial, cities of the north of England.</p>
<p>A note on leaving <a href="http://www.sitra.fi//en" target="_self">Sitra</a>: while the context didn’t allow us to pursue the projects as we would’ve liked, I’m incredibly pleased and proud of the work we did, and particularly the projects we created and nurtured: <a href="http://brickstarter.org" target="_self">Brickstarter</a>, <a href="http://kellohalli.fi/openkitchen.html" target="_self">Open Kitchen</a>, <a href="http://insidejob.fi" target="_self">Design Exchange</a>, <a href="http://low2no.org" target="_self">Low2No</a> and <a href="http://helsinkidesignlab.org" target="_self">Helsinki Design Lab</a>. They have helped shape an emerging practice, and discourse, around the role of design in governance, policy and the public sector, and have been the subject of much international interest. The <a href="http://www.sitra.fi/en/strategic-design" target="_self">Strategic Design Unit</a>, created by Marco Steinberg, with the team of Marco, Bryan, Justin and our interns, Kalle and Maija, are as good as any I’d worked with, and I’ll miss their insight, experience and camaraderie, and the very few Days Without Ideas. We will continue to pursue the wider strategic design project outside of Sitra.</p>
<p>We also loved living in Helsinki. While our work was often moving against the grain, the city itself was a wonderful place to live (<a href="http://www.cityofsound.com/blog/2011/09/happy-feelings-at-the-awakening-of-finnish-spring.html" target="_self">as noted</a>). For me, the centre of the experience was walking our kids every morning through beautiful Ullanlinna and Eira—equally beautiful in the endless light of summer and the pearl white winters—to their <em>päiväkoti</em> (kindergarten/day care), where it’s hard to believe that there is a better early stages education (and general care) anywhere in the world. It’s a special place, and as special as Italy is, we’ll miss it terribly.</p>
<p>As I’m now on the London to New York leg, and British Airways’ on-demand video is as hopelessly broken as ever, I’ve had time to write another note at HDL about all that, which I&#39;ll post shortly over there. <em>Kiitos paljon!</em></p><div class="feedflare">
<a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=9U5nLCoOT_Y:5J-sN4aeOG8:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=9U5nLCoOT_Y:5J-sN4aeOG8:7Q72WNTAKBA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=7Q72WNTAKBA" border="0"></img></a>
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<dc:subject>Architecture</dc:subject>
<dc:subject>Art</dc:subject>
<dc:subject>Cities &amp; Places</dc:subject>
<dc:subject>Exhibitions</dc:subject>
<dc:subject>Experience Design</dc:subject>
<dc:subject>Film</dc:subject>
<dc:subject>Interaction Design</dc:subject>
<dc:subject>Journal</dc:subject>
<dc:subject>Media</dc:subject>
<dc:subject>Music</dc:subject>
<dc:subject>Photography</dc:subject>
<dc:subject>Politics</dc:subject>
<dc:subject>Product design</dc:subject>
<dc:subject>Strategic design</dc:subject>
<dc:subject>This blog</dc:subject>

<dc:creator>Dan Hill</dc:creator>
<dc:date>2012-11-16T13:56:30+02:00</dc:date>
<feedburner:origLink>http://www.cityofsound.com/blog/2012/11/fabrica.html</feedburner:origLink></item>
<item rdf:about="http://www.cityofsound.com/blog/2012/10/old-and-new-finnish-grammar.html">
<title>Journal: Old and New Finnish Grammar</title>
<link>http://feedproxy.google.com/~r/cityofsound/JuiP/~3/_NFmBEubM7I/old-and-new-finnish-grammar.html</link>
<description>I’ve been learning Finnish for over a year now, and am getting nowhere fast. Finnish is a notoriously difficult language to learn—certainly amongst European languages—and so perhaps this is to be expected. But as an Englishman, one starts from the...</description>
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<p>I’ve been learning Finnish for over a year now, and am getting nowhere fast. Finnish is a notoriously difficult language to learn—certainly amongst European languages—and so perhaps this is to be expected. But as an Englishman, one starts from the position of all other languages being a bit of an unnecessary hassle anyway.&#0160;</p>
<p><em>Kidding.&#0160;</em></p>
<p>However, it’s really hard. Leaving aside its almost unique structures, the difficulty of learning the language is exacerbated by most Finns possessing excellent English—certainly in Helsinki, anyway—such that there is little chance to try it out on the street. And although the organisation I work for is resolutely Finnish, all our work is conducted in a form of International English. For these and other reasons, I&#39;m unlikely to be able to speak Finnish for business.</p>
<p>So I’m actually learning Finnish to understand the culture better, language being one of the core structural components within a regional or national culture.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8121703836/in/set-72157631849395465/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c32cddaa8970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c32cddaa8970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>My understanding of Finnish is drawn from near-weekly lessons with my excellent tutor, Outi, who has the patience of a saint and a sense of humour, both of which are probably required attributes for language tutors anywhere. But particularly with Finnish, perhaps. She is kindly suffering my endless inquisitions as to the origins of particular words or phrases, which must be frustrating given the clear direction to teach me a more useful everyday Finnish. But with such an ancient and distinct language, it’s impossible to resist.&#0160;I also try this on with long-suffering Finnish friends too, who tend to be equally gracious, and perhaps more knowledgeable in their language than native English speakers tend to be.&#0160;</p>
<p>
<a class="asset-img-link" href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" style="float: left;" target="_self"><img alt="Newfinnishgrammar" border="0" class="asset  asset-image at-xid-6a00d83452a98069e2017c32cd7e24970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c32cd7e24970b-800wi" style="margin: 0px 5px 5px 0px;" title="Newfinnishgrammar" /></a>But you can put a lot of this down to reading Diego Marani’s genuinely extraordinary novel,&#0160;<em><strong><a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">“New Finnish Grammar”</a></strong></em>. It&#39;s&#0160;one of the most affecting books I’ve read. Set in World War II, it’s the story of someone who wakes from a coma after a head injury to discover himself without memory or language. He is discovered by a Finnish doctor working on a German ship in Trieste, from where he is ultimately shipped to Helsinki, whereupon he is immersed in Finnish language and culture in an attempt to recreate the man by recreating his language. The novel is beautifully written and constructed, and although it’s about the most unlikely guide to Finnish you can imagine, I personally found it invaluable and inspirational in understanding Finland. At least as much as I can claim to.</p>
<p>The book is A Proper Novel, with characterisation, plot development, scenes and so on. James Woods states that the “novel exists to be affecting, to shake us profoundly” and <em>New Finnish Grammar</em> certainly does that. So please don’t be misled by the excerpts I’m deploying below, which are selected passages about the Finnish language. Even if you have no reason for caring about Finland, or Finnish, it&#39;s a wonderful book. For more on <em>New Finnish Grammar</em>, the review that made me pick it up was <a href="http://www.guardian.co.uk/books/2011/may/26/finnish-grammar-diego-marani-review" target="_self">Nicholas Lezard’s in <em>The Guardian</em></a>. Lezard also describes a little of the intriguing author, Diego Marani, who, somewhat amazingly given the fathoms-deep insight into Finnish, is an Italian. Major kudos also to the translator Judith Landry.)</p>
<p><strong>Before I continue:</strong> to any Finns reading this: please be aware I know many of the following statements on your language are subjective, interpretative and not exactly the work of a scholar, let’s put it that way. And equally, please take my comments on Finns, Finnish and Finnishness as the generalisations they often are. For each sweeping generalisation here, I have met the (North) polar opposite, of course. Having been here almost two years, I’m in the dangerous state of having lost the naive clear-sightedness of the new arrival but not yet gained the deeper understanding of the long-term resident. So please forgive the linguistic errors or&#0160;cultural&#0160;<em>faux-pas</em>&#0160;(and feel free to correct below or elsewhere.)</p>

<p>My fascination with Finnish is also down to our children both becoming fluent Finnish-speakers within a few months of getting here, which was astonishing to observe. C has also been learning Finnish with rather more rigour than I, but we&#39;ve both been shown a clean pair of heels by our children. </p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8121689397/in/set-72157631849395465/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee471ab84970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee471ab84970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>Our five year-old son apparently has a very convincing southern Helsinki accent. Our three year-old daughter has effectively been learning English and Finnish simultaneously. Their progress doesn’t reflect too well on my own glacial progress with the language, but I prefer to think instead of the amazing facility with language in the young child’s brain. They feel like fresh, taut drum-like organs absorbing data across vast bandwidth, neural networks being forged at dazzling pace. By comparison, my tired old brain feels more like a soggy ashtray the morning after, words and phrases listlessly subsiding into a confused, muddy melange of stumbling Finnglish.</p>
<p><span style="font-size: 11pt;"><strong>Language as timeline, story, map</strong></span></p>
<p>Like any European language, Finnish is an assemblage of old words from all over the continent, the Middle East and Asian subcontinent. Yet although there are clearly words inherited from the various Norse and Germanic langauges, and from former imperial masters Sweden and Russia, Finnish often remains quite distinct, even compared to neighbouring nations.</p>
<p>In fact, visiting the other Nordic countries, never mind Holland or Germany, during the last two years, I’ve been amazed by how English their languages are suddenly revealed to be; or rather, vice versa: the clear influence of the Norse and Germanic Anglo-Saxon, as well as Latin and Romance languages like Langues d&#39;oïl, on the development of English.</p>
<p>The Viking influence is clearest of all in Scotland and the North East of England, where local words like <em>beck</em>, <em>kirk</em> and <em>bairn</em> are all still in daily use and direct lifts from Old Norse, which covers a language movement from Proto-Norse around the 8<span style="font-size: 8pt;"><sup>th</sup></span> century, until it ultimately becomes the North Germanic languages by the 14<span style="font-size: 8pt;"><sup>th</sup></span> century. You may prefer to think of it as Viking (I do). So a stripe of culture and geography, hemming in the Baltic and North Seas, shares very similar etymology.</p>
<p>And those other languages now seem so easy, so familiar! When you learn that the Swedish for &quot;start here&quot; is <em>starta hår</em> or the Dutch for &quot;apple tart&quot; is <em>appeltaart</em> or the Danish for &quot;thanks for that&quot; is <em>tak fer dat</em>, it’s even more daunting to come back home to Finland and not be able to comprehend anything you read or hear. I know this comparison is grossly insensitive so apologies in advance, but it’s a little like you’ve had a very particular kind of stroke, affecting only one component of your cognition—a surgical stroke, if you will—such that you find yourself walking around in a near-daze, thinking “Well, this looks like a perfectly normal Northern European city, with plenty that I instinctively recognise, but <em>WAIT A MINUTE I CAN’T UNDERSTAND ANY OF THE LANGUAGE!!!</em>”</p>
<p>(Aside: While we’re on Viking, a colleague tells me of a favourite English word derived from Norwegian: “window”, which comes from the Norwegian <em>vindauga</em> which means “wind eye” or “eye on the air”. Which is just beautiful.)</p>
<p>In comparison, the essential Finnish language remains utterly foreign, quite separate. Given this separation, the history of the region can perhaps be perceived within the language, almost as clearly separated waves of cultural development and interaction.&#0160;</p>
<p>Surveying the structure of the language as a whole, I end up thinking of it as the concentric rings of a tree, each ring defined by clear patterns in groups of words and phrases, each belying a particular history. The core of the tree is an ancient Paleo-European language, perhaps 6000 BCE or more, followed by a ring of Finnic language from 1500-1000 BC. Then, moving outwards, a ring of Old Norse for a few hundred years either side of the 8th century, leading into the language of trade and nobility, under the Swedish empire, from around 13th century onwards. This administrative language develops further in the 16th century (Helsinki was established in 1550), before the Russian rule, and the language of municipalities, during the 19th century. Finally, the outer rings of the 20th century, and its language of Fordism, modernity and nationalism, becoming the 21st century language of postmodern globalisation.</p>
<p>In this sense, it’s possible to see the Finnish language as a timeline, a story, a map.&#0160;&#0160;</p>
<div id="photo-xid-6a00d83452a98069e2017c32ce1654970b">
<div class="photo-wrap photo-xid-6a00d83452a98069e2017c32ce1654970b" id="photo-xid-6a00d83452a98069e2017c32ce1654970b" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.cityofsound.com/.a/6a00d83452a98069e2017c32ce1654970b-pi"><img alt="Nao Tamura edition of Artek 60 stool" class="asset  asset-image at-xid-6a00d83452a98069e2017c32ce1654970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c32ce1654970b-500wi" title="Nao Tamura edition of Artek 60 stool" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e2017c32ce1654970b" id="caption-xid-6a00d83452a98069e2017c32ce1654970b">Nao Tamura edition of Artek 60 stool (<a href="http://naotamura.com/projects/rings-artek/" target="_self">via</a>)</div>
</div>
</div>
<p><span style="font-size: 11pt;"><strong>The ancient core</strong></span></p>
<p>The centre of the rings is an ancient core of Finnish, in some cases thought to be several thousand years old (though this is hotly debated.)</p>
<p>These old words seem immediately distinct. They are small words, one syllable ending in “u” or “ä”, or two syllables mostly ending in “a” or “i”, as if formed by unformed mouths, or more likely, people who have survival to worry about first and foremost, for whom interpersonal communication is a matter of life and death rather than poetic embellishment. I don’t believe in Maslow’s hierarchy—leaving aside <a href="http://en.wikipedia.org/wiki/Maslow&#39;s_hierarchy_of_needs#Criticisms" target="_self">the charges of individualist bias</a>, it’s clear that self-actualisation and shelter come together in cave art, even from the earliest, most endangered times; there is no hierarchy—but if you did, you might see these as the words found on the lower rungs of that ladder.</p>
<p>Yet there is a poetry to these basic building blocks. They’re some of the more beautiful parts of the language. Here’s my collection of such words:</p>
<blockquote>
<p><em>suu</em> (mouth), <em>pää</em> (head), <em>varsi</em> (arm), <em>käsi</em> (hand), <em>silmä</em> (eye)</p>
<p><em>kuu</em> (moon/month), <em>sää</em> (weather), <em>jää</em> (ice)</p>
<p><em>lahti</em> (bay), <em>järvi</em> (lake), <em>saari</em> (island), <em>metsä</em> (forest), <em>vuori</em> (mountain), <em>ruoho</em> (grass), <em>kivi</em> (stone), <em>mäki</em> (hill), <em>joki</em> (river), <em>harju</em> (ridge), <em>suo</em> (swamp)</p>
<p><em>puu</em> (tree), <em>kukka</em> (flower), <em>lehti</em> (leaf), <em>oksa</em> (branch), <em>koivu</em> (birch), <em>mänty</em> (pine), <em>oak</em> (tammi), <em>spruce</em> (kuusi)</p>
<p><em>tuli</em> (fire), <em>tuuli</em> (wind), <em>lumi</em> (snow), <em>sata</em> (rain), <em>vesi</em> (water), <em>pilvi</em> (cloud)</p>
<p><em>tori</em> (market), <em>talo</em> (house), <em>koti</em> (home), <em>suku</em> (kin), <em>heimo</em> (tribe), <em>kuka?</em> (who?), <em>oma</em> (own/homeland),&#0160;<em>vene</em>&#0160;(boat)</p>
<p><em>karhu</em> (bear), <em>kala</em> (fish), <em>kissa</em> (cat), <em>koira</em> (dog), <em>kotka</em> (eagle), <em>kana</em> (chicken), <em>kani</em> (rabbit), <em>pupu</em> (bunny), <em>vuohi</em> (goat), <em>sika</em> (pig), <em>jänis</em> (hare), <em>liha</em>&#0160; (meat), <em>marja</em> (berry), <em>sieni</em> (mushroom), <em>lintu</em> (bird), <em>lohi</em> (salmon)</p>
<p><em>yksi</em> (one), <em>kaksi</em> (two)</p>
<p><em>leski</em> (widow), <em>poika</em> (son)</p>
<p><em>Ikä</em> (age), <em>luja</em> (strong/firm), <em>pikku</em> (little)</p>
</blockquote>
<p>(You pronounce all the letters clearly, punchily, such as <em>met-sa</em>, <em>lah-ti</em>, <em>jär-vi</em> and so on, with a rumbling roll of the Rs if you get the chance. The “h” is <em>lahti</em> is clearly, if breathily pronounced, which is tough for the English speaker. “Y” is a variant on English “u”, perhaps like &quot;ew&quot;, whereas a “u” is more of an “oo” and “i” is an English “ee”. “J” is English “y”. “Ä” is a short “a”, and Finnish “a” is a long “a”. A word with two Ls in the middle gets each one pronounced. Emphasis on the start of the word, then let it tail off, tumbling it down the hill until it’s a deep mumble by the time it reaches your chest—but still pronouncing each letter.)</p>
<p>Some of these very old words, like “vesi”, apparently still betray their age in their various declensions; <em>vesi</em> &#0160;becomes <em>vetta</em> when you’re talking about a glass of water. That “s” to “t” switch between cases is an old manouevre, according to Outi. Same with <em>käsi</em> (hand) to <em>käteeni</em> (in my hand). Outi swears there are the relatively few exceptions in this allegedly consistent language, to which I can only say <em>“riiiiiight”</em>.</p>
<p>Snuck in amongst these words is an intriguing set: <em>jänis</em> (hare), <em>musta</em> (black), <em>mäki</em> (hill), <em>saari</em> (island), <em>suo</em> (swamp).</p>
<p>Some etymology scholars think that these words are entirely unique, and so are thought to be pre-Indo-European words. This means they are part of a genuinely ancient language, words from a prehistoric Europe, part of a Paleo-European language spoken in Fennoscandia, which places them anywhere upwards from 6000 years ago. I like the idea of these particularly ancient words almost randomly studded in this opaque fabric of the rest of the language. (Basque might be the only other well-known European example of a language with word groups this old.) As I mentioned, however, these theories are hotly debated, and I have lost hours to Wikipedia, fascinated by the arguments over the history of the&#0160;<a href="http://en.wikipedia.org/wiki/Baltic-Finnic_languages" target="_self">Baltic Finns</a> and <a href="http://en.wikipedia.org/wiki/Finnic_peoples" target="_self">Finnic peoples</a>.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/4673698345/in/set-72157627612332695" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3cfc8de2970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3cfc8de2970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>Mother is <em>äiti</em>, father is <em>isä</em>. Big is <em>iso</em>, such that grandfather is <em>isoisä</em>, which is rather nice. There are some possibly poetic resemblences, like <em>maito</em> (milk) and <em>äiti</em> (mother).</p>
<p>See also<em> ukko</em>, which is variously a god, a slightly shabby old man, thunder and lightening, and a not-particularly-common boy&#39;s name.</p>
<p>Looking at this “core of the tree” does begin to readily conjure up the pre-historic Finnish landscape and culture. There is the pressing need to name things, starting with the body, working outwards to the family and tribe relationships, with what you can eat and what might kill you, what we can make and with what tools, with the vagaries of weather, with subtle variations in landscape, climate, vegetation, ultimately to descriptions of others and the creation of a culture through making your own kind distinct …&#0160;</p>
<p>I presume a scholar of English might be able to read similar histories within the patterns of that language, but here these old words seem very distinct. The short, brief, evocative words of a primitive time, a time of naming the essentials: human and celestial bodies: <em>pää, suu, kuu, sää, jää; </em>a landscape of<em> lahti, jarvi, saari, vuori</em></p>
<blockquote>
<p>“I was still in thrall to those chipped sounds, those words eaten away by ice and silence “ (From <a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self"><em>&quot;New Finnish Grammar&quot;</em>, by Diego Marani</a>)</p>
</blockquote>
<p>You can imagine standing, probably shivering, on the edge of a forest, looking over a settlement of low stone buildings with smoke curling from thatched roofs. What words do you need to conjure the world around you, and to live within it?&#0160;</p>
<blockquote>
<p>Star, goat, hill, ridge, breast, moon, god, cloud, axe, bear, rain, month, bear, cold, kill, lost, far, berry, sick, two, foreign, mother, mushroom, fire, stone, house, strong, hedgehog, boat, milk, water, sweet …</p>
</blockquote>
<p>The obvious presence of these ancient words reconstruct a mythical landscape and culture, rendering it somehow perceptible at the heart of Finnishness today. Squaring this with the reality of Finland’s contemporary culture is not always easy, but that core is still there, despite the odds.&#0160;</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8121688675/in/set-72157631849395465/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3cfc669e970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3cfc669e970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>Later, reading Marani, I discover a shared thought, voiced by one of the primary characters, reflecting on the bloody Civil War in the midst of a World War:</p>
<blockquote>
<p>“Linguists say that all languages tend towards simplification, aiming to express the maximum of possible meaning through the fewest possible sounds. So the shortest words are also the oldest, the most worn away by time. In Finnish, the word for was is <em>sota</em>, and these two syllables are eloquent pointers to how many we have indeed waged.” (<a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Marani</a>)</p>
</blockquote>
<p><span style="font-size: 11pt;"><strong>Ancient patterns hidden in plain sight</strong></span></p>
<p>I got Outi to explain the etymology of the names for months, and it reveals a poetic connection to working with the land, with a pre-modern pattern of living and working. So, from January to December:</p>
<blockquote>
<p><em>Tammikuu</em> (<em>tammi</em> means oak, but previously also the centre or core of a tree, so this is January, heart of winter)</p>
<p><em>Helmikuu</em> (<em>helmi</em> is pearl, like <em>jäähelmia</em> or ice pearl, which makes one think of the trees frozen in glistening ice. Can also be girl’s name)</p>
<p><em>Maaliskuu</em> (<em>maa</em> meaning earth, so the month in which you begin to see the ground as the snow melts)</p>
<p><em>Huhtikuu</em> (this is a very old meaning for “the new field”, the month in which one prepares the field)</p>
<p><em>Toukokuu</em> (<em>touko</em> meaning the first week in spring. Can be a man’s name.)</p>
<p><em>Kesäkuu</em> (Literally, summer month!)</p>
<p><em>Heinäkuu</em> (hay, so the month for gathering the hay)</p>
<p><em>Elokuu</em> (harvest month, possibly also “life”?)</p>
<p><em>Syyskuu</em> (Autumn month!)</p>
<p><em>Lokakuu</em> (<em>loka</em> meaning dirt, or mud, which is most apt for a wet, cold month. Mud month.)</p>
<p><em>Marraskuu</em> (Apparently, <em>marraskuu</em> means “dead month”, which is how November feels, sometimes.)</p>
<p><em>Joulukuu</em> (Simply, Christmas month!)</p>
</blockquote>
<p>I started writing this piece around <em>Toukokuu</em>, perhaps, a time for starting things, but am now finishing it caught between dirt month and dead month. Looking out the window, over the faded brown buildings and cold, grey Baltic disappearing into a heavy sea fret, it’s accurate, let me assure you.</p>
<p>So this connection to nature is there in the rhythm of life, even. Quite different to the English collection of slightly random Roman emperors, gods and numbers, from which we dervice our months&#39; names.</p>
<p>Forgive a long quotation from Marani, from the character of Koskela the shamanastic pastor, after several glasses of <em>koskenkorva</em>:</p>
<blockquote>
<p>“The forms of a language inevitably have repercussions upon the speaker, it is they which mould his face, his land, his habits, where he lives, what he eats. The foreigner learning Finnish distorts his own bodily features; he moves away from his original self, may indeed no longer recognise it. This does not happen studying other languages, because other languages are merely temporary scaffolding for meaning. Not so for Finnish: Finnish was not invented. The sounds of our language were around us, in nature, in the woods, in the pull of the sea, in the call of the wild, in the sound of the falling snow. All we did was to bring them together and bend them to our needs. When God created man, he did not bother to send any men up here. So we had to do what we could to struggle free of defenceless matter on our own. In order to gain life, we had to suffer. FIrst came trees, lakes, rocks, wind. Becoming human all on our own was no joke. Finnish is a sold language, slightly rounded at the sides, with narrow slits for eyes, like the houses in Helsinki, the faces of our people. It is a language whose sounds are sweetish and soft, like the flesh of the perchis and trout we cook on summer evenings on the shores of lakes whose depths are covered in red algae, the colour of the hunters’ houses and the berries which bead from bushes in summer …” (<a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Marani</a>)</p>
</blockquote>
<p>He continues, at length, and it’s wonderful. In the midst of reading it, lost to the alcohol, candlelight, snow and air-raids Marani conjures up, it feels the most accurate and evocative description of Finnish language and culture possible. And yet it’s all bogus, fictional, mythical—like Finland itself, part-contrived by the Fennoman movement from a peculiar stew of ancient oral tales enriching the modernist need to describe a nation state. </p>
<p>Finns I work with will occasionally say something like, “Ah well we Finns still have one leg in the forest”. And indeed, many urbane, cosmopolitan Finns I know are suddenly entirely at home in the forest, on the lake, gutting a fish, flicking away ticks, far more in touch with nature than, say, the English and Australians, both of whom claim to have an affinity for countryside and bush/outback respectively, but who rarely actually inhabit it. Finns can often be close to their land, just as Finnish is, still conveying the qualities that the <em>bon vivant</em> Koskela revels in above.</p>
<p><span style="font-size: 11pt;"><strong>Middle Finnish</strong></span></p>
<p>Later Finnish words are often a little, well, wordier, and often compounded, as if the development of culture itself is essentially a matter of compounding concepts.</p>
<p>Moving beyond those ancient words, many of those compounds must still be old. You can see it in the names given to significant resources that are not that common here, such as coal, which is <em>kivihiili</em>, which means “stone of carbon”, roughly.</p>
<p>Equally, a quick glance at Wikipedia indicates early Finnish borrowing widely, including some intriguing borrowings such as <em>vasara</em>, a common word for hammer, which actually comes from Iranian (<a href="http://en.wikipedia.org/wiki/Avestan">Avestan</a>) <em>vadžra</em>. There’s a story there.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8121706498/in/set-72157631849395465/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee471b208970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee471b208970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>In <em><a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">“New Finnish Grammar”</a></em>, there is the admittedly slightly crazed suggestion that the Finns are a product of Altaic-speaking tribes, who drove up through Asia from the Urals and then split two ways, with one group going east to settle Japan, and the other driving west to Turkey, and then up through what is now Hungary and Estonia before ending up in Finland. Hence the Finno-Ugric language group comprising Finnish, Hungarian, Estonian and not much else. And more ludicrously again, the alleged similarities between contemporary Finland and Japan. Like many things in Marani, it’s so unlikely that it’s possibly true. The book balances on this knife-edge of plausibility beautifully, throughout.</p>
<p>I’m not sure if the numbers betray anything… except… Numbers for one to six are all two syllables, but from seven to ten are all three syllables. Why? I traced one vague theory that <em>kahdeksan</em> (eight) is actually derived from saying 10-2, and <em>uhdeksan</em> (nine) is 10-1. With this theory, the “deksan” or “dek” is seen as close to Indo-European variations on ten, and <em>kah</em> is two (<em>kaksi</em>) and <em>uh</em> close to <em>yksi</em> (one), particularly when the shorter spoken versions (<em>yks</em> and <em>kaks</em>) are used. A stretch, but a possible explanation. Doesn’t necessarily&#0160; explain why ten is <em>kymmenen</em>, though. <em>Seitsemän</em>, for seven, might be from <em>sieben, sept, sette&#0160;</em>etc. But why just that? The language often deflects attempts to shine light on it, just as Finnish culture can be relatively opaque to the newcomer.&#0160;</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8121690363/in/set-72157631849395465/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c32cdeed7970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c32cdeed7970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p><span style="font-size: 11pt;"><strong>Languages of trade and empire</strong></span></p>
<p>Back to those rings.&#0160;</p>
<p>Following this shift from ancient to Early Middle Ages Finnish, we encounter the language of trade, of a different kind of exchange to that offered by the Vikings. Of empire, in fact.</p>
<p>Finland, and Helsinki in particular, didn’t figure much in the Hanseatic League, unlike Tallinn to the south, so this ring of the tree feels like the middle ages rather than the dark ages, the beginnings of globalisation and concurrent with the discoveries of the New World.</p>
<p>The word for customs is <em>tulli</em>, which is essentially Swedish <em>tull</em>, which is essentially the English toll. Similarly, the word for pepper is <em>pippuri</em> (<em>peppar</em> in Swedish), salt is <em>suola</em> (salt is <em>salt</em> in Swedish and Danish), coffee is <em>kahvi</em> (<em>kaffe</em> in Swedish), tobacco is <em>tupakka</em> (<em>tobak</em> in Swedish) and so on. These words are traces of the Old Norse, yes, but also the northern empires of Britain, Denmark, Holland and particularly Sweden, ruler of Finland for 700 years, from the 12<span style="font-size: 8pt;"><sup>th</sup></span> to the 19<span style="font-size: 8pt;"><sup>th</sup></span> century.</p>
<p><em>Olut</em> is beer, which seems older then, that <em>kakku</em>, for cake. <em>Banaani</em> tells its own story, of course. See also&#0160;<em>Silkki</em>.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8121688255/in/set-72157631849395465/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee471a088970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee471a088970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>Orange is <em>appelsini</em>, which is loosely “Chinese apple&quot;, from the Swedish <em>apelsin</em>, who I guess must have first thought of seeing the orange as an apple from China. Also, Dutch has <em>sinaasappel</em> and old Northern German <em>apfelsine</em>. (As it happens, the apple itself actually originates in Kazakhstan, while the orange probably is from China originally. Whereas the English word &quot;orange&quot; probably comes from Sanskrit, passing through numerous intermediate languages before hitting English.)</p>
<p>Perhaps geography is also perceptible in the contours of the language. Those countries that are a boat-ride away have what seem to me to be old Finnish names, in that they bear little relation to Anglo-Saxon/Norse names I.e. Russia is <em>Venaja</em>, Sweden is <em>Ruotsi</em>, Germany is <em>Saksa</em>, and so on. Whereas later countries, whether as far away as Portugal (<em>Portugalli</em>) or as really far away as Australia (<em>Australia</em>) have progressively more familiar Anglo names. The intermediate countries—a long boat ride away—have names which are halfway there: <em>Norja</em> for Norway (like the Norwegian <em>Norge</em>) and <em>Tanska</em> for Denmark, which is on the way to&#0160; the Swedish <em>Danmark</em>.</p>
<p>So again, the language is like a diagram of the roots of a tree, but here in space not time. Or some confluence of both.</p>
<p>Interestingly, sea is <em>meri</em>, which would seem to have something in common with the common <em>mer, mare</em>, <em>meer</em> and <em>mar</em> in French, Italian, German and Spanish respectively. And totally different to Swedish or Danish for sea, which is <em>hav</em>, from which we get &#0160;<em>havn</em>, the word for port or harbour, which is well on the way to harbour. And of course, these are all quite different to the English word sea itself, which may actually be from Norwegian or Icelandic <em>sjø</em> or <em>sjó</em> I.e. <em>that </em>western branch of Vikings again.</p>
<p>Appropriately then, the Finnish word for sea nods to this sense of a European melting pot, just as the words for its more internal land features do not. Sea is a carrier of culture as well as physical resources, and perhaps the word itself reflects that fluidity and transaction, whereas the words for, say, hill, forest and ridge do not.</p>
<p>Some Finnish words are totally of this time I.e. <em>kuningas</em> meaning king, which is from Germanic, and ultimately English, via Danish (<em>konge</em>), Swedish (<em>kung</em>) and so on (as opposed to the southerners with their <em>re, roi, rey</em>.)</p>
<p>Beyond language briefly: the stereotypical Finnish relationship with Sweden seems to involve putting oneself down in comparison—“Of course, Sweden is at least a decade ahead in terms of x”, where x might be sustainable cities and renewable energy, football, food, privatising their railways etc. This is often not actually true, except in sustainable cities, but it’s interesting to observe the kneejerk deference to the western neighbour and former ruler.</p>
<p>Again, these are generalisations and I apologise for any offence caused or errors made—but I’ve heard this many times. The relative positioning of the language may even have a reinforcing role here, as under Swedish rule Finnish was the language of peasantry and perhaps clergy, with Swedish the language of nobility, administration and education. That is a long hegemonic half-life, if so.</p>
<p>Whereas it’s actually difficult, to me anyway, to discern Russian traces. This could reflect the more awkward cultural relationship that Finland has with Russia. While elements of the culture betray the Russian influence, like the fondness for getting plastered on vodka, the language does not. Apparently, the formal Russian influence is more bureaucratic, involved in setting up the municipal governments, and so on. I have heard interesting theories about how the Russian Empire saw Finland, after it was taken over in 1809, whereupon it was set up as the Grand Duchy of Finland, rather than becoming simply a part of Russia. This provided a kind of experimental space for administration, rather like China used Shenzhen to explore new models, as a Special Economic Zone. So the Grand Duchy was a Special Administrative Zone, enabling Russia to observe the outcomes of different governance models. (This insight from Martti Kalliala’s wonderful little book in the Sternberg Press Solutions series, <a href="http://www.sternberg-press.com/index.php?pageId=1349&amp;bookId=244&amp;l=en" target="_self">“<em>Solution 239-246: Finland: The Welfare Game”</em></a>.)</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8121706762/in/set-72157631849395465/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3cfc755c970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3cfc755c970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>There is good reason for the awkward relationship, partly given the tortured history of Empire, but perhaps more so the brief but brutal <a href="http://en.wikipedia.org/wiki/Finnish_Civil_War" target="_self">Civil War</a>, the prison camps afterwards, the simply horrendous <a href="http://en.wikipedia.org/wiki/Winter_War" target="_self">Winter War</a> and <a href="http://en.wikipedia.org/wiki/Continuation_War" target="_self">Continuation War</a> in World War II, and the era of “<a href="http://en.wikipedia.org/wiki/Finlandization" target="_self">Finlandization</a>” afterwards. The fact that, in a world of BRICs, neighbouring Russia is the most obvious trading partner for Finland is still not readily accepted. Architects I know here say they are more likely to do work in China than Russia, as if the latter is the most impossibly vast take on a “<a href="http://en.wikipedia.org/wiki/Flyover_country" target="_self">flyover state</a>”.</p>
<p>So, aside from some neighbourhoods where Russian culture is more visible, some close to where we live as it happens, it’s not so easy to see, and certainly can’t be heard in Finnish much.</p>
<p>Apparently, some Helsinki slang borrows from Russian, however. And the square <em>Narinkkatori</em> outside the <em>Kamppi</em> (army “camp”) mall in the heart of Helsinki, comes from the Russian <em>на рынок</em> (<em>na rinok</em>), which means “on the marketplace”, which is then followed by <em>tori</em>, the FInnish for “marketplace”, so it literally means “marketplace marketplace”, which is rather nice.</p>
<p>The crazed, unreliable, sozzled pastor character in Marani’s novel has a take on all this, predictably:</p>
<blockquote>
<p>“The word east means nothing on its own. In our language you have to be more specific. <em>Ita</em> means the east in general, <em>Kaako</em> means the specific point where the sun rises. If we have two distinct words for east in Finnish, it is so as to avoid having to use the same word for dawn, and for the direction from which the Slav invasions come.” (<a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Marani</a>)</p>
</blockquote>
<p>Again, language as a timeline, a story, a map.<strong>&#0160;</strong></p>
<p><span style="font-size: 11pt;"><strong>Modern Finnish</strong></span></p>
<p>Finnish independence from Russia in 1917, while the latter was slightly distracted, quickly became a nationalist movement, driven by the <a href="http://en.wikipedia.org/wiki/Fennoman_movement" target="_self">Fennomans</a> and wrapped up in language and culture, and in some instances the active creation of folklore. Their motto?</p>
<blockquote>
<p><em>Swedes we are no longer,<br /></em><em>Russians we do not want to become,<br /></em><em>let us therefore become Finns!</em></p>
</blockquote>
<p>The Finnish language had flourished under Russia, ironically, at the expense of Swedish. Swedish had been the mother tongue of around 15% of Finns at the beginning of the 19<span style="font-size: 8pt;"><sup>th</sup></span> century, but is around 5% today&#0160; (there are still fierce political debates today about whether to keep Swedish an official language; personally, one pleasing feature of Helsinki streets are the street signs in both Finnish and Swedish—and in a few old places, in Russian too.)</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8121690075/in/set-72157631849395465/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee471add3970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee471add3970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>We can also see an emerging language of industralisation. This includes the names of companies, which often have a touch of Finnish pragmatism i.e.&#0160;Nokia is the name of a small town in the west of Finland where Nokia comes from (though Nokia the firm only started using Nokia the name in 1967). Fiskars is a village&#0160;where the company Fiskars was founded, in 1649. Even more so,&#0160;Kone, the leading elevator manufacturer, simply uses the Finnish word for machine,&#0160;<em>kone</em>.</p>
<p>Other leading Finnish firms betray the position of Swedish nobility, such as Ahlstrom, or German industralists, such as Paulig and Stockmann.&#0160;Whereas Artek is a genuinely 20<span style="font-size: 8pt;"><sup>th</sup></span> century Finnish name, drawn from &quot;Art + Technology&quot;.</p>
<p><span style="font-size: 11pt;"><strong>Is cultural development simply a matter of compounds?</strong></span></p>
<p>In terms of the words, by the time we roll forward to the 20<span style="font-size: 8pt;"><sup>th</sup></span> and 21<span style="font-size: 8pt;"><sup>st</sup></span> century, compounding and borrowing is rife. So contemporary work is surrounded by words like the following. They have a different ring to that early core above:&#0160;</p>
<blockquote>
<p><em>puheenjohtaja (chairperson)</em><br /><em>tietokone</em> (computer; literally, “information machine”)<br /><em>lentokentta</em> (airport; literally: “flight field”) or <em>lentoasema</em> (“flight station”)<br /><em>toimisto</em>&#0160;(office)<br /><em>puhelin</em> (telephone)&#0160;<br /><em>toimitusketjun</em> (supply chain)<br /><em>sähköaseman</em> (substation)<br /><em>suunnitteluperiaatteet</em> (design principles)&#0160;</p>
</blockquote>
<p>There are fewer Finnish words than most other European languages. And although its structure is bewilderingly different to someone steeped in English and with a smattering of French, Italian, German etc., the rules are generally predictable, with few exceptions and little room for ambiguity. It’s only confusing in comparison. Structurally, it makes sense when you get it, and tends to be consistent. Pronunciation is quite simple too, so what you read is what you say, once you understand the letter sounds. Compared to English, it’s quite pragmatic, consistent and simple. It’s just massively different.&#0160;</p>
<p>As a result of all this, Finnish feels like a comparatively rudimentary language, yet is clearly capable of great poetry.</p>
<p>Here, by the way, it’s worth noting the <a href="http://en.wikipedia.org/wiki/Finnish_noun_cases" target="_self">noun cases</a>; there are&#0160;at least 15. In Finnish, the noun seems to do all the work, carrying the information about context (temporal, spatial, intentional etc.) This is a little disconcerting at first, when you realise your name changes based on context, as does the name of places.</p>
<p>When talking about living in London (<em>Lontoo)</em>, London becomes <em>Lontonissa</em>,&#0160; whereas welcoming someone to London involves <em>Lontooseen</em>, and so on. So London can theoretically be any of the following, depending on the noun case:<em> Lontoo, Lontoon, Lontoota, Lontoossa, Lontoosta, Lontoseen, Lontolla, Lontolta, Lontoolle, Lontoona, Lontooksi </em>and<em> Lontootta</em>. And if someone is from London, it’s <em>Lontoolainen</em>.&#0160;</p>
<p><a href="http://www.flickr.com/photos/cityofsound/8121687449/in/set-72157631849395465"><img alt="image from www.flickr.com" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c32cdd6b2970b-500wi" title="image from www.flickr.com" /></a></p>
<p>(I like to think that this casual disregard for the sovereignty of names demonstrates the emphasis on the collective at the heart of Finnish culture; to hold one’s name intact would be individualistic, and to illustrate that it, and you, are insignificant compared to the wider shared context, we’re going to knock it around a bit.)</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8121692799/in/set-72157631849395465/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c32cdfc34970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c32cdfc34970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>Whilst they’re relatively consistent (more or less), these noun cases feel very foreign, almost structurally orthogonal to the instincts of the English speaker. But this is where the poetry is, not least, as Marani points out, in the <a href="http://en.wikipedia.org/wiki/Abessive_case" target="_self">abessive case</a>.</p>
<blockquote>
<p>“Yes, a declension for things we haven’t got: <em>koskenkorvatta, toivatta</em>, no koskenkorva, no hope, both are declined in the abessive. It’s beautiful, it’s like poetry! And also very useful, because there are moe things we haven’t got than that we have. All the best word in this world should be declined in the abessive!” (<a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Marani</a>)</p>
</blockquote>
<p>The abessive modifies the noun to describe the condition of being without something—it’s a case whose melancholy disposition is easy to stereotype as a very Finnish way of thinking. (Though see also Estonian and Hungarian. And by the way, melancholy should not be interpreted as necessarily negative here. We must resist the bland nullity of everything being seen to be wonderful, or inexorably heading that way, the pursuit of happiness at almost all costs, whether through medication, therapy or election campaign promises—when, of course, without melancholy, happiness cannot meaningfully exist, just as loud means little without quiet.)</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8121692399/in/set-72157631849395465/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c32cdfa33970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c32cdfa33970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>So, an entire case for the condition of not having something. It’s a <em>-tta</em> or <em>-ttä</em> suffix on the noun. So <em>raha</em> becomes <em>rahatta</em> (&quot;without money&quot;). Or you might have <em>Juna jäi tulematta</em> (&quot;the train didn’t show up&quot;) or&#0160;<em>Itkin syyttää</em> (&quot;I cried for no reason&quot;.) <em>“Oh yes, we need a noun case for all that stuff.”&#0160;</em></p>
<p>(As I type, I’m secretly thinking of the absessive as the most Finnish of noun cases, after <a href="http://www.youtube.com/watch?v=NgViOqGJEvM" target="_self">Nigel Tufnel describing D Minor as “the saddest of all keys”</a>.)</p>
<p><span style="font-size: 11pt;"><strong>Finnish in practice</strong></span></p>
<blockquote>
<p>“In the Finnish sentence the words are grouped around the verb like moons around a planet, and whichever one is nearest to the verb becomes the subject. In European languages the sentence is a straight line; in Finnish it is a circle, within which something happens. In our language every sentence is sufficient unto itself, in others it needs surrounding discourse in order to exist, otherwise it is meaningless.” (Pastor Koskela again, in <a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Marani’s <em>“New Finnish Grammar”</em></a>)</p>
</blockquote>
<p>Language teacher Michel Thomas says that verbs give you the backbone of a language, yet in Finnish, the noun seems a more fundamental carrying structure, the spine of meaning running through discourse. By now, it will come as little surprise to you that Pastor Koskela has a theory about this:</p>
<blockquote>
<p>“The noun suggests an idea of something, it helps us know it. In Finnish to know is tietaa, and tie means road, or way. Because for us Finns knowledge is a road, a path leading us out of the woods, into the sunlight, and the person who knew the way in the oldest times was the magician, the shaman who drugged himself with magic mushrooms and could see beyond the woods, beyond the real world. It is of course true there is more than one possible path to knowledge, indeed there are many. In the Finnish language the noun is hard to lay hands on, hidden as it is behind the endless declensions of its fifteen cases and only rarely caught unawares in the nominative. The Finn does not like the idea of a subject carrying out an action; no one in this world carries out anything; rather, everything comes about of its own accord, because it must, and we are just one of the many things which might have come about.” (<a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Marani</a>)</p>
</blockquote>
<p>We’ve all been in meetings like that, eh.</p>
<p>These fundamental bedrock nouns are augmented by a series of hard-working suffixes, which is are the corollary of not having any of those superfluous preposition or article types—there is no “the” or “to” or “an” and so on. Famously, along with the fact that there is effectively no word for please, the lack of prepositions and articles means everyday transactions can initially seem a little curt.&#0160;</p>
<p><em>(Stage left: Man enters coffee shop, desiring coffee)<br /></em><em>Man, to barista: “Kahvi.”</em></p>
<p>Not “I’d like a coffee, please.” Just “coffee.” Just a statement of a subject—coffee—and the context of me being here in a shop indicates that I want some, for indeed, what else would I be here for, exactly? This emphasis on hard-working context makes sense, but it also renders the culture a little opaque again. In this case, the context is clear; in others, not so much, and given that the great challenge for Finland, and Finnishness, is to continue to open up and diversify, <a href="http://www.cityofsound.com/blog/2012/05/ravintolapäivä-opportunistic-edible-urbanism.html" target="_self">this opacity needs working at</a>.</p>
<p>Back to the coffee shop. it’s not often like that, but “officially” it is like that. Some of those “joining” words, which in English would be core to conveying politeness, just do not exist.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8121704506/in/set-72157631849395465/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3cfc64a5970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3cfc64a5970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p><span style="font-size: 11pt;"><strong>Contemporary Finnish</strong></span></p>
<p>As I mentioned, I have rarely had to really use Finnish in my work here, and in this city, almost everyone speaks near-flawless English. Yet Finnish has begun to seep in, despite this.&#0160;</p>
<blockquote>
<p>“... A light dusting, a sprinkling of sounds had gradually settled on the smooth rock of my mind, becoming denser and more full-bodied over time. A rich, deep humus had formed, where words were now taking root and thriving.” (<a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Marani</a>)</p>
</blockquote>
<p>Finns one ends up working with often pause to consider the right translation for a more complex or technical Finnish word, which can lead to sudden etymological investigations.&#0160;In a meeting earlier this morning, I get the word <em>lapsiperheiden</em> meaning “families with children” which is just the words for child and families concatenated, more or less. Also, <em>kukkaisjäätelötehdas</em> or”flower ice-cream factory”, for <a href="http://openkitchen.fi/" target="_self">Open Kitchen</a>. Both perfectly logical, once you see it. But can equally get out of hand quite quickly.&#0160;</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8121705124/in/set-72157631849395465/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c32cde784970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c32cde784970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>In an old copy of the Finnish magazine &quot;<em>Kotiliesi&quot;</em> (“home stove”, or maybe “hearth”?) we find the column <em>Isoäiti vastan elämänkysymyksiin</em>, which is something like “Grandmother answers your everyday life questions”, with the single word <em>elämänkysymyksiin</em> meaning “everyday life questions”. This is explicable, just, if your ear is tuned in, as the way it’s pronounced tends to be with deliberate clarity, enabling you to perceive the joins. Structurally, words, or word-parts, are not so much dovetailed or interleaved as stacked or simply sequenced.&#0160;</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/4941603598/in/set-72157627612332695" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee471ce57970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee471ce57970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>Yet, just as when visiting a foreign city, or attending a Shakespeare play, your ear does eventually tune in, and what seemed an impenetrable wall of noise suddenly has pinpricks of comprehension momentarily embedded in it, like twinkling stars in darkness.</p>
<p>The stereotypical male FInn helps by tending to speak slowly, in a low, deep, monotone (there are many exceptions.) But in the mouth of the more sociable, gregarious female of the species (there are many exceptions), it’s like being gently attacked by a rat-a-tat flurry of sing-song syllables, unpredictably fluttering around your head like delicate butterflies on speed, shot from a machine-gun (<em>konekivääri</em>, machine-rifle).</p>
<p>You don’t stand a chance.</p>
<p><span style="font-size: 11pt;"><strong>Finnglsh</strong></span></p>
<p>More recently, there are some delicious words that are clearly <em>Finnglish</em>, simple adoptions and adaptations of English words into Finnish (if you’re lost for a word, and it’s a contemporary subject, trying sticking an “i” on the end (pronounced “ee”) and there’s a chance it’s right.)</p>
<p>So we have <em>bleiseri</em> for blaser and <em>fleesi</em> for fleece. Or <em>geometria</em> and <em>magneetit</em>. Or <em>blogi</em>, <em>Facebookissa</em>, <em>Dropboxi</em>, <em>platformi</em>.&#0160;<em>Muffinsi, pizzat ja kebabit.&#0160;</em><em>Televisio. Seminaari. Rasteri. Masochisti. Alumiinifolio, Bussi. Jasmiiniriisi</em> (jasmine rice).&#0160;And so on.</p>
<p>A more direct appropriation of English one hears a lot is the simple lifting of a phrase in English. It’s not that there is no Finnish translation for these phrases—it just must have extra resonance, irony or emphasis when delivered in English in the midst of a rat-a-tat sentence of Finnish, or suomeksi.&#0160;</p>
<p>So sitting in an office, studio or café often sounds like this:</p>
<blockquote>
<p><em>“Suomeksi suomeksi <strong>walk down memory lane</strong> suomeksi suomeksi.”</em></p>
<p><em>“Suomeksi suomeksi suomeksi<strong> business as usual</strong> suomeksi?”</em></p>
<p><em>“Suomeksi suomeksi suomeksi <strong>single point of failure</strong> suomeksi!”</em></p>
<p><em>“Suomeksi suomeksi <strong>big picture</strong> suomeksi suomeksi!”</em></p>
<p><em>“Suomeksi <strong>executive summary</strong> suomeksi”</em></p>
<p><em>“Suomeksi suomeksi suomeksi <strong>perfect bind</strong> suomeksi suomeksi.”</em></p>
<p><em>“Suomeksi <strong>Out-of-office</strong> suomeksi suomeksi.”</em></p>
<p><em>“Suomeksi suomeksi suomeksi <strong>get a hold of yourself</strong>!”</em></p>
</blockquote>
<p>I also find words that make me actively reflect on the language’s inherently pragmatic poetry, such as <em>rautatie</em> for railway, which is the evocative “iron road”. Or the pleasing word for photograph: <em>valokuva</em>, which literally means “light picture”. But then I realised that the word “photograph” itself was also quite pleasing—“photo graph”—and means largely the same thing. So learning Finnish has also made me appreciate English in a new way.</p>
<p>Some of these variations make etymological sense, being familial relationships e.g.</p>
<blockquote>
<p><em>Keittää</em> - to boil, cook<br /><em>Keittiö</em>&#0160; - kitchen<br /><em>Keitto</em> - soup</p>
</blockquote>
<p>But then there are those words that seem entirely different, which still sound exactly the same to the casual and inexperienced listener, e.g.&#0160;</p>
<blockquote>
<p><em>Tuli</em> - fine<br /><em>Tuuli</em> - wind<br /><em>Tulli</em> - customs</p>
</blockquote>
<p><em>Silli</em>&#0160;is herring whereas&#0160;<em>siili</em> is hedgehog, which could lead to all manner of amusement in a fish restaurant. Or a hedgehog restaurant, for that matter. (And while we’re here, while the further subtle variation <em>silli</em> means silicone, <em>siili</em>, which still means hedgehog, can apparently also allude to some kind of heat sink on a motherboard. Hey ho.)</p>
<p><em>Pussi</em> means bag, which can lead to some pink-cheeked embarrassment. And in fact did, with a colleague whose Finnish teacher kept insisting on asking him what was inside her <em>pussi</em>. He was mildly traumatised by this line of questioning, to the point of stopping his Finnish lessons right there, and is presumably still a little shaky when approaching a supermarket checkout.</p>
<p>While the pronounciation may be clear, and variation in dialect is less common than in, say, Britain, there is still slang to further disorentate, The way it is performed. In Helsinki, words are shortened.</p>
<p><em>Minä olen</em> (I am) becomes <em>mä oon</em>. <em>Yksi</em> (one) is shortened to <em>yks</em>, <em>kaksi</em> (two) becomes <em>kaks</em>. <em>Kaksikymmentä</em> (20) becomes something like <em>kaks-koot</em>, and so on.</p>
<p><strong>Flatness and flourishes</strong></p>
<p>There can be a flatness to the patterns of speech, it’s true—a general point I delicately posited about the flatness of Finland in <em><a href="http://www.strelka.com/press_en/dark-matter-and-trojan-horses-dan-hill/?lang=en" target="_self">“Dark Matter &amp; Trojan Horses”</a></em> (seeing it in some way an allegory for the flatness of structure in Finnish society, the terrain, the urban landscape.) But this doesn’t really represent the considerable relish with which some words are unfurled by the Finnish speaker.&#0160;</p>
<p>Similarly, one could write about the famous “Finnish silence”, particularly drawn from the taciturn nature of many Finnish men. Or the quietness of urban life, the interiority of domestic life, the slightly barren neatness of the Helsinki street … but this would be in contrast with the proclivity those same men have for robust baritone singing at the drop of a hat.</p>
<blockquote>
<p>“Singing these words was my way of taming them. Since I could not ferry them to the shore of meaning, I had to approach them cautiously, ensure that they would not slip from my grasp, be lost in the unbroken flow of the singing.” (<a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Marani</a>)</p>
</blockquote>
<p>There’s a clear delight taken in barrelling some of the compounds off the tongue, particularly given the emphasis on the first syllable, and the chance to roll a few Rs along the way. The need to pronounce every letter means each word can be dramatically baroque and bold structures, a tumbling drum roll, or actually something akin to the oddly ornamental heavy warped art deco of Helsinki’s Jugendstil buildings; somehow ostentatiously expressive, with artful, magical embellishments, but also heavy, grounded, of the people, a dialect for folklore. </p>
<p>Marani’s protagonist describes them as “round, plump words,” which feels right, not for those ancient clipped primitives described initially, but for the later words, like <em>ravintola</em> (restaurant) or <em>lämpimämpi</em> (warmer) or <em>huomiseen</em> (tomorrow) or <em>bussiasema</em> (bus station) or <em>pohjola</em> (north).</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8121707628/in/set-72157631849395465/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3cfc7822970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3cfc7822970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>(I haven’t mentioned the <em><a href="http://en.wikipedia.org/wiki/Kalevala" target="_self">Kalevela</a></em>, the national epic of mythologised mythology, whose influence is invisibly pervasive in Finnish daily life, as well as more obviously in Tolkien, Sibelius, and numerous others. Features several times in <em><a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">&quot;New Finnish Grammar&quot;</a></em>. But I’ve never read it.)</p>
<p>Yet Finnish is often performed in the flat monotone, tilted slightly upwards at the beginning of the sentence, and with the minimal physical accompaniment common to the northern latitudes. In this, it perfectly exemplifies this often overplayed contrast between southern and northern Europe.</p>
<p>For instance, when <a href="http://www.amazon.com/gp/product/0865477248/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=0865477248&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Tobias Jones</a> says of Italian neighbourhoods that “after a while, other countries begin to seem eerily quiet”, his counterpoint might well be the non-Vappu Finnish street. Similarly, his contention that, in Italy “to be <em>logorrroico</em>, incredibly wordy, is esteemed more than anything that’s actually being said”, also has its counterpoint in a particular genre of brutally pragmatic, analytical Finn.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8121691571/in/set-72157631849395465/" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c32cdf58a970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c32cdf58a970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>And the way that Italian is delivered provides another interesting counterpoint, not least through its physicality of course, through its gestural body language, but in this striving for ornament&#0160;</p>
<blockquote>
<p>“Learning Italian can be hard because there’s so much flamboyance and rhetoric in the language that words, as one English friend observed, have colours and sounds rather than actual meanings. Sentences search for brilliant effect more through musicality—the rhythm and pitch—than through actual sense. The blunt expedient of communication, guaranteed through brutish straight-talking, is secondary to the beauty of the sound. That’s why it’s often almost impossible to render in English a passage of Italian: you have to search for a meaning which often isn’t even there.” (From&#0160;<a href="http://www.amazon.com/gp/product/0865477248/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=0865477248&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">&quot;The Dark Heart of Italy&quot;, Tobias Jones</a>)</p>
</blockquote>
<p>This is not a problem, if it is seen a problem, in Finnish. But again, this doesn’t mean the language is not animated; it is animated in a different way. It is not<em> more</em> subtle, as this would be to deny what <a href="http://www.cityofsound.com/blog/2012/10/20th-century-gestures-supplement-to-the-italian-dictionary-munari.html" target="_self">Munari’s accompaniment to the Italian dictionary</a> makes clear: how subtle body language can be, as well as the “colour” in patterns of Italian speech described by Jones. But there is a poetry and delicacy in Finnish speech, once your ears tune in. (Again, it’s intriguing that Marani&#0160;is an Italian.)</p>
<p>Koskela the pastor, trying to help (possibly):</p>
<blockquote>
<p>“These are not just words! This is a revealed cosmogony, the mathematics that holds the created world in place! Outs is a logarithmic grammar: the more you chase after it, the more it escapes you down endless corridors of numbers, all alike yet subtly different, like the fugues of Bach! Finnish syntax is thorny but delicate: instead of starting from the centre of things, it surrounds and envelops them from without. As a result, the FInnish sentence is like a cocoon; impenetrable, closed in upon itself; here meaning ripens slowly and then when ripe, flies off, bright and elusive, leaving those who are not familiar with our language with the feeling that they have failed to understand what has been said. For this reason, when foreigners listen to a Finn speaking, they always have the sense that something is flying out of his mouth: the words fan out and lightly close in again; they hover in the air and the dissolve. It is pointless to try and capture them, because their meaning is in flight; it is this that you must catch, using your eyes and ears. Hands are no help! This is one of the loveliest things about the Finnish language!” (<a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Marani</a>)</p>
</blockquote>
<p>Equally, it must be said, a Finnish taxi driver—just to unfairly pick on them at random—punctuating a suffocating blanket of silence with gutteral grunts is one of the least lovely things about the Finnish language.</p>
<p><span style="font-size: 11pt;"><strong>The street as language exam</strong></span></p>
<p>The city provides another accompaniment to the dictionary. The often wonderful signs that still pepper Helsinki’s streets—and see my earlier notes on Helsinki being a second-glance city of details such as signage and public lettering—are slowly shifting from word-shapes which seemed entirely foreign—and still largely do, it must be said—into vaguely familiar meanings. Thus the city, which was once simply architecture, becomes closer to an article, a series of messages arranged in paths. Marani sees the landscape as a kind of mnemonic structure, in the words of his central protagonist:</p>
<blockquote>
<p>“From the sea shore we turned to look at the Uspenski Cathedral once more before turning down the Esplanadi. With some difficult, one by one, I was taking in Koskela’s words. In the pauses between them, I head them die away. I watched them floating down into the landscape of the city around us, so as to note where they fell, so that I could go and collect them later: a belltower would remind me of a verb, I wasted a whole ship on an adjective and entrusted the all-important subject to a tram. The pastor’s though was scattered throughout Helsinki, and I could reread it every time I pleased.” (<a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Marani</a>)</p>
</blockquote>
<p>So over time the city itself becomes a kind of everyday vocabulary test. Walking my children to <em>päiväkoti</em> (daycare) this morning, past Ullanlinna’s <a href="http://www.flickr.com/photos/cityofsound/6175913730/in/set-72157627612332695" target="_self">neon signs and art deco lettering</a>, I reflect that the kids can understand Finnish and English but can’t read, whereas I can read but not understand Finnish. Together, we can figure it out.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/4949215355/in/set-72157627612332695" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee472155d970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee472155d970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p><strong><em>New Finnish Grammar</em>, by Diego Marani</strong> (English translation) [<a href="http://www.amazon.com/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Amazon.com</a> / <a href="http://www.amazon.co.uk/gp/product/190351794X/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=190351794X&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Amazon.co.uk</a>]</p><div class="feedflare">
<a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=_NFmBEubM7I:q900H0ZT8K0:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=_NFmBEubM7I:q900H0ZT8K0:7Q72WNTAKBA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=7Q72WNTAKBA" border="0"></img></a>
</div>]]></content:encoded>


<dc:subject>Books</dc:subject>
<dc:subject>Cities &amp; Places</dc:subject>
<dc:subject>History</dc:subject>
<dc:subject>Journal</dc:subject>

<dc:creator>Dan Hill</dc:creator>
<dc:date>2012-10-26T00:53:07+03:00</dc:date>
<feedburner:origLink>http://www.cityofsound.com/blog/2012/10/old-and-new-finnish-grammar.html</feedburner:origLink></item>
<item rdf:about="http://www.cityofsound.com/blog/2012/10/fulcrum-architectural-association-free-weekly.html">
<title>Journal: Fulcrum, the Architectural Association's free weekly newspaper</title>
<link>http://feedproxy.google.com/~r/cityofsound/JuiP/~3/VDGPraNxRXI/fulcrum-architectural-association-free-weekly.html</link>
<description>This is a fantastic idea: "Fulcrum is a weekly architectural publication printed on Bedford Press at the Architectural Association. It was founded in January 2011 by Graham Baldwin, Aram Mooradian &amp; Jack Self." As I'm posting this, the current issue...</description>
<content:encoded><![CDATA[<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8083389608/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c329fe34e970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c329fe34e970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8083388336/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee443c6ca970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee443c6ca970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>This is a fantastic idea: &quot;<a href="http://fulcrum.aaschool.ac.uk/" target="_self">Fulcrum</a> is a weekly architectural publication printed on Bedford Press at the Architectural Association. It was founded in January 2011 by <a href="https://twitter.com/Graham_Baldwin" target="_self">Graham Baldwin</a>, <a href="http://www.arammooradian.com" target="_self">Aram Mooradian</a> &amp; <a href="http://www.jackself.com" target="_self">Jack Self</a>.&quot;&#0160;</p>
<p>As I&#39;m posting this,&#0160;the current issue (<a href="http://fulcrum.aaschool.ac.uk/51/" target="_self">#51</a>), edited by Baldwin and Self, happens to convey some of the thinking behind the publication, both as a response to the increasingly image-based non-critical architectural media, and an experment in terms of format. As they point out, most student publications don&#39;t get beyond 3 or 4 issues per year; to produce a weekly of quality writing, albeit two sides, is ambitous but to be commended. I love the idea of weekly newsheets being produced for particular spaces—in this case, the AA and surrounds. It&#39;s somehow absurd and deadly serious. The writing is often exemplary—<a href="http://fulcrum.aaschool.ac.uk/previous" target="_self">browse the archives</a>—and the aesthetic is somehow 1950s Daily Express readallaboutit and the right now of <a href="https://medium.com" target="_self">Medium</a>. And of course its physicality, for a hyper-specific ambit, is a smart move.</p>
<blockquote>
<p>&quot;The purpose of this piece of paper is to be folded, passed around, photocopied, left on buses. In short, its essence is in part its physicality.&quot; (From Fulcrum #51)</p>
</blockquote>
<p>Every project should be pushing an agenda and pushing a format in unison, and this does both rather adeptly. Top marks.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8083393233/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee443c519970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee443c519970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>It&#39;s a beautifully simple format—a large image on one side, and two articles juxtaposed on the backside—and the agenda is being aggressively pursued by pulling in <a href="http://fulcrum.aaschool.ac.uk/previous" target="_self">well-known contributors and characters alongside the newer, lesser-known voices</a>.</p>
<p>They also produced a bespoke variant for 2012 Venice Biennale, <a href="http://fulcrum.aaschool.ac.uk/commonplace" target="_self">The Commonplace</a>.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8083391130/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3cce6f74970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3cce6f74970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p><a href="http://fulcrum.aaschool.ac.uk/" target="_self"><strong>AA Fulcrum</strong></a></p><div class="feedflare">
<a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=VDGPraNxRXI:_ZFAxZgmbkA:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=VDGPraNxRXI:_ZFAxZgmbkA:7Q72WNTAKBA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=7Q72WNTAKBA" border="0"></img></a>
</div>]]></content:encoded>


<dc:subject>Architecture</dc:subject>
<dc:subject>Journal</dc:subject>
<dc:subject>Media</dc:subject>

<dc:creator>Dan Hill</dc:creator>
<dc:date>2012-10-19T00:08:34+03:00</dc:date>
<feedburner:origLink>http://www.cityofsound.com/blog/2012/10/fulcrum-architectural-association-free-weekly.html</feedburner:origLink></item>
<item rdf:about="http://www.cityofsound.com/blog/2012/10/journal-proposals-for-kiasma-by-peter-liversidge.html">
<title>Journal: Proposals for Kiasma, by Peter Liversidge</title>
<link>http://feedproxy.google.com/~r/cityofsound/JuiP/~3/aStII_TpkgU/journal-proposals-for-kiasma-by-peter-liversidge.html</link>
<description>I propose to take the following photographs of this book of proposals for Kiasma by Peter LIversidge whilst standing in Kiasma gallery bookshop, holding the book in my left hand and my iPhone in my right, enjoying the conceit and...</description>
<content:encoded><![CDATA[<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099529798/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3cce5f66970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3cce5f66970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099522711/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3cce64cc970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3cce64cc970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>I propose to take the following photographs of this book of proposals for Kiasma by Peter LIversidge whilst standing in Kiasma gallery bookshop, holding the book in my left hand and my iPhone in my right, enjoying the conceit and realisation of the book and valuing its existence but not enough in order to purchase it, reflecting that if it had been €10 and not €22.50, maybe, and feeling somewhat bad about that but not so bad that it reverses my decision, before walking away to sit down in the adjacent café and write these words in order to bolster the likelihood that I will subsequently publish this post. Although the resulting images will be too small to read at first glance, the reader will be encouraged to click through to Flickr where they can see larger versions.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099526659/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c329fd688970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c329fd688970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099526149/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c329fd723970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c329fd723970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099525721/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee443b9a0970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee443b9a0970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099532882/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c329fd7e0970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c329fd7e0970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099532572/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c329fd85c970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c329fd85c970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099532078/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c329fd8cf970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c329fd8cf970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099524135/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c329fd934970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c329fd934970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099523687/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c329fd99e970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c329fd99e970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099523197/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee443bc4f970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee443bc4f970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099527023/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee443bd47970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee443bd47970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p><div class="feedflare">
<a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=aStII_TpkgU:3VlDNjYGDys:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=aStII_TpkgU:3VlDNjYGDys:7Q72WNTAKBA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=7Q72WNTAKBA" border="0"></img></a>
</div>]]></content:encoded>


<dc:subject>Art</dc:subject>
<dc:subject>Books</dc:subject>

<dc:creator>Dan Hill</dc:creator>
<dc:date>2012-10-18T23:45:46+03:00</dc:date>
<feedburner:origLink>http://www.cityofsound.com/blog/2012/10/journal-proposals-for-kiasma-by-peter-liversidge.html</feedburner:origLink></item>
<item rdf:about="http://www.cityofsound.com/blog/2012/10/20th-century-gestures-supplement-to-the-italian-dictionary-munari.html">
<title>Journal: 20th century gestures / Supplement to the Italian Dictionary</title>
<link>http://feedproxy.google.com/~r/cityofsound/JuiP/~3/mZ0TtzgHO-g/20th-century-gestures-supplement-to-the-italian-dictionary-munari.html</link>
<description>By chance, after posting the 21st century gestures series a few weeks ago, I discovered Bruno Munari’s 1963 book “Supplemento al dizionario italiano”. This is a delicious project, which starts with a collection of gestures collated in the 19th century,...</description>
<content:encoded><![CDATA[<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099508883/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee4438826970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee4438826970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>By chance, after posting the <a href="http://www.cityofsound.com/blog/2012/09/essay-21st-century-gestures-clip-art-collection.html" target="_self">21<sup>st</sup> century gestures</a> series a few weeks ago, I discovered <strong><a href="http://en.wikipedia.org/wiki/Bruno_Munari" target="_self">Bruno Munari’s</a> 1963 book <em>“<a href="http://www.amazon.com/gp/product/8886250916/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=8886250916&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Supplemento al dizionario italiano”</a></em></strong>. </p>
<p>This is a delicious project, which starts with a collection of gestures collated in the 19<span style="font-size: 8pt;"><sup>th</sup></span> century, published in 1832 in Naples, collated by Canon Andrea de Jorio under the title <em>“The Ancients’ mimic through the Neapolitan gestures”</em>.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099517466/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3cce34fd970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3cce34fd970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099510261/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3cce33ba970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3cce33ba970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>This beautifully and simply illustrated set features some gestures still in existence, such as rubbing thumb and forefinger to denote “money”, as well as thumbing the nose and so on.&#0160; Though I’m not sure we see the gesture for <em>“You act a sham part of the first lady!”</em> used so much these days. Then again, I’ve never been to Napoli.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099518602/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3cce3245970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3cce3245970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>Munari’s book continues as a contemporary update, brilliantly envisaged as a supplement to the Italian dictionary and described with concise text in Italian, English, French and German, juxtaposed with artfully staged photographs. It&#39;s entirely redolent of 1963, even though Munari starts with a few Roman gestures and co-opts many of the Neapolitan set.</p>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017c329fabf7970b" id="photo-xid-6a00d83452a98069e2017c329fabf7970b" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099511777/in/photostream"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c329fabf7970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c329fabf7970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e2017c329fabf7970b" id="caption-xid-6a00d83452a98069e2017c329fabf7970b">What do you expect?&#0160;</div>
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<div class="photo-wrap photo-xid-6a00d83452a98069e2017c329fac88970b" id="photo-xid-6a00d83452a98069e2017c329fac88970b" style="display: inline-block; width: 470px;"></div>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017c329fac88970b" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099519746/in/photostream"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c329fac88970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c329fac88970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a>
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<div class="photo-caption caption-xid-6a00d83452a98069e2017c329fac88970b" id="caption-xid-6a00d83452a98069e2017c329fac88970b">Horns</div>
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<p>Deploying a 1950s clip-art style for my set of technology-induced gestures—<a href="http://www.cityofsound.com/blog/2012/09/essay-21st-century-gestures-clip-art-collection.html" target="_self">explained in the text</a>—it’s rather tempting to consider reproducing the 21<span style="font-size: 8pt;"><sup>st</sup></span> century version, perhaps incorporating <a href="http://curiousrituals.wordpress.com/2012/09/03/curious-rituals-book/" target="_self">Team Nova’s additional gestures</a>, in the 1963 Munari style.</p>
<p>As with most things Italian, it is both a national project—it is an Italian dictionary, that artefact of nation building, after all—and decidedly local, with its Neapolitan origins and to the extent that it includes the sign for <em><a href="http://en.wikipedia.org/wiki/Punt_e_Mes" target="_self">Punt e Mes</a></em>, a gesture that “originated in Turin towards the end of the nineteenth century to signal an order for the famous bitter vermouth.”&#0160;</p>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017c329fb4c5970b" id="photo-xid-6a00d83452a98069e2017c329fb4c5970b" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099534936/in/photostream"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c329fb4c5970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c329fb4c5970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e2017c329fb4c5970b" id="caption-xid-6a00d83452a98069e2017c329fb4c5970b">Punt e Mes&#0160;</div>
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<div class="photo-wrap photo-xid-6a00d83452a98069e2017d3cce3d81970c" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099513259/in/photostream"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3cce3d81970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3cce3d81970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a>
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<div class="photo-wrap photo-xid-6a00d83452a98069e2017d3cce3d81970c" id="photo-xid-6a00d83452a98069e2017d3cce3d81970c" style="display: inline-block; width: 470px;">
<div class="photo-caption caption-xid-6a00d83452a98069e2017d3cce3d81970c" id="caption-xid-6a00d83452a98069e2017d3cce3d81970c">I don&#39;t care</div>
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<p>It’s somewhere between practical guide and practical joke, and is so deadpan it’s difficult to know either way. Or rather, it works either way. C recounts how an estate agent actually demonstrated the “rapid, slashing movement across the throat, to suggest a blade” to her the other day, indicating it was perhaps better to live in the town.</p>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017ee443980d970d" id="photo-xid-6a00d83452a98069e2017ee443980d970d" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099523076/in/photostream"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee443980d970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee443980d970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e2017ee443980d970d" id="caption-xid-6a00d83452a98069e2017ee443980d970d">Threat&#0160;</div>
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<div class="photo-wrap photo-xid-6a00d83452a98069e2017c329fb7c7970b" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099522690/in/photostream"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c329fb7c7970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c329fb7c7970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a>
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<div class="photo-wrap photo-xid-6a00d83452a98069e2017c329fb7c7970b" id="photo-xid-6a00d83452a98069e2017c329fb7c7970b" style="display: inline-block; width: 470px;">
<div class="photo-caption caption-xid-6a00d83452a98069e2017c329fb7c7970b" id="caption-xid-6a00d83452a98069e2017c329fb7c7970b">It&#39;s nothing to do with me</div>
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<p>The few concessions to physical gestures drawn from our interaction with technology, as per the subject of my essay, are perhaps the near-universal signs for scissors—the <em>snip-snip</em> of forefinger and middle finger—and for telephones, with&#0160; the sign for “call me”, described here in English as “Ring up!: The index finger makes a dialling movement near the ear.” Perhaps also “Thumbing a lift”—which could’ve been pre-car though is described as “recent”—and maybe “Have you a cigarette?”, if we can consider a cigarette as technology.</p>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017d3cce4df5970c" id="photo-xid-6a00d83452a98069e2017d3cce4df5970c" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099527963/in/photostream"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3cce4df5970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3cce4df5970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e2017d3cce4df5970c" id="caption-xid-6a00d83452a98069e2017d3cce4df5970c">Ring Up!</div>
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<p><strong>
</strong></p>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017d3cce47bd970c" id="photo-xid-6a00d83452a98069e2017d3cce47bd970c" style="display: inline-block; width: 470px;"><strong><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099523814/in/photostream"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3cce47bd970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3cce47bd970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></strong></div>
<strong>
</strong>
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<div class="photo-caption caption-xid-6a00d83452a98069e2017d3cce47bd970c" id="caption-xid-6a00d83452a98069e2017d3cce47bd970c">What a bore</div>
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&#0160;
<p><strong>
</strong></p>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017ee4439016970d" id="photo-xid-6a00d83452a98069e2017ee4439016970d" style="display: inline-block; width: 470px;"><strong><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8099512477/in/photostream"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee4439016970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee4439016970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></strong></div>
<strong>
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<div class="photo-caption caption-xid-6a00d83452a98069e2017ee4439016970d" id="caption-xid-6a00d83452a98069e2017ee4439016970d">Hunger</div>
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<div class="photo-caption caption-xid-6a00d83452a98069e2017c329fb0fb970b" id="caption-xid-6a00d83452a98069e2017c329fb0fb970b">Contrast&#0160;</div>
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<div class="photo-caption caption-xid-6a00d83452a98069e2017ee4439b82970d" id="caption-xid-6a00d83452a98069e2017ee4439b82970d">Agreed</div>
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<div class="photo-caption caption-xid-6a00d83452a98069e2017d3cce4989970c" id="caption-xid-6a00d83452a98069e2017d3cce4989970c">Theft</div>
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<div class="photo-caption caption-xid-6a00d83452a98069e2017d3cce4be8970c" id="caption-xid-6a00d83452a98069e2017d3cce4be8970c">Devilment&#0160;</div>
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<p><strong>&quot;<a href="http://www.amazon.com/gp/product/8886250916/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=8886250916&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self"><em>Supplemento al Dizionario Italiano&quot;</em>, by Bruno Munari (Amazon)</a></strong></p><div class="feedflare">
<a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=mZ0TtzgHO-g:T4PiupTIRms:yIl2AUoC8zA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=yIl2AUoC8zA" border="0"></img></a> <a href="http://feeds.feedburner.com/~ff/cityofsound/JuiP?a=mZ0TtzgHO-g:T4PiupTIRms:7Q72WNTAKBA"><img src="http://feeds.feedburner.com/~ff/cityofsound/JuiP?d=7Q72WNTAKBA" border="0"></img></a>
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<dc:subject>Books</dc:subject>
<dc:subject>Design history</dc:subject>
<dc:subject>History</dc:subject>
<dc:subject>Interaction Design</dc:subject>
<dc:subject>Journal</dc:subject>

<dc:creator>Dan Hill</dc:creator>
<dc:date>2012-10-18T23:34:23+03:00</dc:date>
<feedburner:origLink>http://www.cityofsound.com/blog/2012/10/20th-century-gestures-supplement-to-the-italian-dictionary-munari.html</feedburner:origLink></item>
<item rdf:about="http://www.cityofsound.com/blog/2012/10/garage-of-small-things-nanotechnology.html">
<title>Essay: The Garage of Small Things; nanotechnology, biomimicry and design practice (Annex)</title>
<link>http://feedproxy.google.com/~r/cityofsound/JuiP/~3/TKkfFQASOsQ/garage-of-small-things-nanotechnology.html</link>
<description>What follows is a slightly different edit of my article for Artek’s new magazine, 'Annex', as part of their science and technology-themed issue. It explores some of the possibilities in and around advanced material research, based on a conversation between...</description>
<content:encoded><![CDATA[<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049700196/in/photostream" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3c7c9030970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3c7c9030970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>What follows is a slightly different edit of my article for <a href="http://www.cityofsound.com/blog/2012/10/annex-artek.html" target="_self">Artek’s new magazine, <em>&#39;Annex&#39;</em>,</a> as part of their science and technology-themed issue. It explores some of the possibilities in and around advanced material research, based on a conversation between researcher <a href="http://www.aalto.fi/en/current/news/view/2012-02-07-002/" target="_self">Olli Ikkala</a>, Artek design director <a href="http://www.artek.fi/company/designers/42" target="_self">Ville Kokkonen</a>, and me, at Aalto University’s “Nanotalo” (nano-house).</p>
<p>Along the way it explores building at the molecular scale, how cellulose might resource tomorrow’s fast fashion and slow buildings; leaps from Lilliput to Finland; links electron microscopes to Thackara’s macroscopes; remains ambivalent about whether we really are on the brink of a the new industrial revolution or about to take another unsustainable misstep: connects MIT’s Building 20 and Aalto to reinforce the value of garages; sets up a prizefight of poetic qualities between Italo Calvino, Juhani Pallasmaa and biomimicry; and sketches out how research into organic polymers might inadvertently reveal a future of creative practices …</p>
<p>Suffice to say, it was not easy to write this article in a way that might engage a broad audience, whilst retaining the essence of these big issues about small things. I take my hat off to writers like <a href="http://www.stevenberlinjohnson.com" target="_self">Steven Johnson</a> or <a href="http://topics.nytimes.com/top/opinion/editorialsandoped/oped/columnists/davidbrooks/index.html" target="_self">David Brooks</a> who do such a thing for a living.&#0160; For some years now, I’ve tried to use this site to explore a kind of communicable, almost conversational writing about (sometimes) complex matters—it’s far too easy to hide behind obfuscation, after all—but this was a particular challenge.</p>
<p>As ever, I’d be interested in your thoughts: <a href="https://twitter.com/cityofsound" target="_self">Twitter</a>, <a href="http://www.facebook.com/cityofsound" target="_self">Facebook</a>, or even the neglected old comments box below. The <em><a href="http://www.cityofsound.com/blog/2012/10/annex-artek.html" target="_self">&#39;Annex&#39;</a></em> piece is accompanied by proper photos from proper photographer Tuomas Uusheimo; the ones below are mine (<a href="http://www.flickr.com/photos/cityofsound/sets/72157631680893392/with/8049705814/" target="_self">full set is here</a>.)</p>
<p>You should know that this is known in the trade as one of those <a href="https://twitter.com/i/#!/search/longreads" target="_self">#longreads</a></p>

<h3><strong>The Garage of Small Things: from seashells to butterfly wings, how nanotechnology reveals nature’s true potential</strong></h3>
<p>Olli Ikkala walks quickly. We are almost chasing him down a spotless white corridor at Aalto University’s “Nanotalo” facility, trying to keep up. It’s like he’s trying to get to the future as quickly as possible, just to see how it turns out.</p>
<p>“We” are Ville Kokkonen and Anna Vartiainen, from Finnish design company <a href="http://www.artek.fi" target="_self">Artek</a>, photographer Tuomas Uusheimo, and me.&#0160;</p>
<p><a href="http://physics.aalto.fi/personnel/?id=379" target="_self">Ikkala</a> is Academy Professor at Aalto University’s Department of Applied Physics, and our host today at “Nanotalo”, the university’s nanotechnology and advanced materials research centre. Throughout the course of a morning’s conversation, and by letting us in on their experiments and equipment, Ikkala patiently yet imaginatively makes an invisible world come alive, a world which is fundamental to all of us and everything we know but whose meaningful comprehension is tantalisingly out of reach. You will need to reject, or at least thoroughly question, much of what you know—at least what you think you know—about the properties, scale and systems of the materials we live with.</p>
<p>We’re here for a conversation between Ikkala, Kokkonen and me, to see if we can sketch out some areas of shared interest, between a scientist and two designers. Ikkala’s team specialise in the self-assembling of material, based on increasingly deep understanding of the nacreous matter in seashells—<a href="http://en.wikipedia.org/wiki/Nacre" target="_self">mother of pearl</a>, in plain English—or the structure of butterfly wings and beetle shells, or cellulose fibres in birch. Ville and I both have experience of different kinds of assembly, from objects to buildings to organisations. The conversation proves to be one of the most pleasurably challenging I’ve had for a while, and I’ll be picking over its remains for some time. This essay is one way of trying to make sense of it all.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049696510/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c324d0779970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c324d0779970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
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<p><strong>i Puulaboratorio to Nanotalo</strong></p>
<p>Ikkala was striding from the main entrance to Nanotalo, off one of the more nondescript of many nondescript streets at Aalto University’s Otaniemi campus, through to the back of the building. He says we’re heading for “the garage”.</p>
<p>The building is hardly Alvar Aalto on top form, though it is a perfectly serviceable functional component of the 1965 campus, and had formerly been the state’s wood research centre, or <a href="https://ltl.tkk.fi/wiki/Special%3APicturearchive?g2_itemId=5157" target="_self">“Puulaboratorio”</a>.</p>
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<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049695106/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c324d093a970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c324d093a970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
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<p><a href="http://www.alvaraalto.fi" target="_self">Alvar Aalto’s legacy</a> of built projects is of course one of Finland’s great gifts, to itself and the world, but it is something of a poisoned chalice when the functions required of buildings change four decades on, and a heritage listing prevents you from even switching <a href="http://www.flickr.com/photos/cityofsound/8049691539/in/set-72157631680893392" target="_self">door handles</a>. </p>
<p>
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<p>
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<p>Ikkala’s team had discovered that they couldn’t really touch a thing in the building; until someone asked about the humble building out the back.&#0160;</p>
<p><em>“Could we, er, modify the garage?”</em></p>
<p>Four decades on, and the modification is so thorough that there is little sense of garageness here at all. It’s a nest of grey corridors and well-insulated rooms, peppered with the opaque markings, student posters and research paper abstracts common to university spaces.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049692301/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee3f0c036970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee3f0c036970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
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<p>Ikkala leads us a room that is small in plan but tall in section. It’s utterly dominated by a large electron microscope, around which we shuffle, trying to understand where the front is. In describing what the electron microscope can do, Ikkala begins to reveal the mysterious qualities of their work. Just as when he’s walking, it’s a little difficult to keep up.</p>
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<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049692897/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c324d0dd0970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c324d0dd0970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
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<p>What we’re all particularly interested in is their research concerning the structures of cellulose fibre, which are the basic construction element of the primary cell walls in green plants, into new forms of material—<a href="http://en.wikipedia.org/wiki/Nanocellulose" target="_self">“nanocellulose”</a>—which could be valuable across a dizzying variety of applications.&#0160;</p>
<p>Those applications emerge throughout the morning’s conversation, and have been ticking over in the back of our minds ever since, but at this point it’s almost impossible to connect that rich variety of creative possibilities with this awkward room, over-lit like a hospital, and just about containing this towering confection of different components, with a couple of PC towers untidily attached to it like intravenous drips on a patient. Like the “dark warehouses” designed by robots for robots, it feels like a space exclusively shaped for and by for the electron microscope itself, rather than for its users.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049694007/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee3f0bea0970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee3f0bea0970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
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<p>As we’re talking a student comes in to run some tests, and after it boots, the electron microscope renders some incomprehensible (to us) images on its display and emits an ambient symphony of peculiar high-pitched sounds. It’s somehow a small sound; a sound of small things.</p>
<p>This particular microscope, probably one of five like it in the world, is sitting pretty in an environment that is stable both politically and geographically. The “modifications” included digging down 10 metres until they hit the 1.9 billion year-old gneiss, shists, and granite bedrock that underpins Helsinki. They then built up 2 metres of sand and 8 metres of concrete. The electron microscope sits on this platform, but is further separated from the rest of the building’s frame, somewhat like the way contemporary concert halls tend to “float” on dampers.</p>
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<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049699052/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee3f1070f970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee3f1070f970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
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<p>This stability does lend a particular kind of research into particular kinds of materials, just as rather more controversially Finland is building <a href="http://en.wikipedia.org/wiki/Onkalo_spent_nuclear_fuel_repository" target="_self">nuclear waste disposal facilities at Onkalo</a>, to the north. Yet there is little sense here of a high security environment.</p>
<p>In fact, the building still has some garage-like qualities. &#0160;</p>
<p>It’s full of original Artek furniture for instance, but no-one is precious about how to use them. An <a href="http://www.artek.fi/products/chairs/11" target="_self">E60 stool</a> is somewhat compromised by a tatty desk drawer laid on top of it, repurposed as a laser printer stand. Later, in a room full of instrumentation made by the researchers themselves, we find a 3D printer and electrospinner augmented with Lego Technic components. “Our researchers found it easier to just drive over to Tapiola Stockmann and pick some up!”, laughs Ikkala.</p>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017d3c7b6105970c" id="photo-xid-6a00d83452a98069e2017d3c7b6105970c" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049700054/in/set-72157631680893392"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3c7b6105970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3c7b6105970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e2017d3c7b6105970c" id="caption-xid-6a00d83452a98069e2017d3c7b6105970c">Classic Artek stool, with drawer on top, with laser printer on top</div>
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<p>There’s a long history to this kind of workshop space in science and technology research, as exemplified by the legendary <a href="http://en.wikipedia.org/wiki/Building_20" target="_self">Building 20 at MIT</a>. Lovingly described in <a href="http://www.amazon.com/gp/product/0140139966/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=0140139966&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">Stewart Brand’s book <em>&#39;How Buildings Learn&#39;</em></a>—and counterpointed beautifully by the “other favourite building on the MIT campus”, the <a href="http://www.archdaily.com/61752/ad-classics-mit-baker-house-dormitory-alvar-aalto/" target="_self">Baker House dormitory</a>, another Alvar Aalto building ironically enough—Building 20 was a ramshackle, knockabout, leftover space which happened to produce decades of pioneering research. As Brand related, it was “the only building on campus you can cut with a saw” but it’s also where MIT’s first interdisciplinary lab emerged from. It’s where <a href="http://en.wikipedia.org/wiki/Noam_Chomsky" target="_self">Noam Chomsky</a> largely started the science of linguistics, and can also lay claim to groundbreaking work in nuclear science, digital computer technology, stroboscopic photography, cosmic rays, food technology and so on.</p>
<p>So in being a former garage Nanotalo is in good company. Although one wouldn’t want to approach it with a saw, it does feel like a workshop rather than a sterile “clean room”.</p>
<p>Having said that, we follow in Ikkala’s wake past a low temperature laboratory, “around one thousandth of a degree above absolute zero”. The thought of making a part of Finland even colder that it already is has a certain irony, not lost on an immigrant like me.&#0160;</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049688141/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee3f0b999970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee3f0b999970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>&#0160;</p>
<p><strong>ii Powers of 1x10<sup>-9</sup></strong></p>
<p>Confounding physical expectations is what this place does. Our morning is punctuated by vertiginous drops and zooms in scale, rather like the <a href="https://vimeo.com/819138" target="_self">Charles &amp; Ray Eames film “Powers of Ten”</a>, but veering from the scale of the cosmos to that of the molecule from one sentence to the next.</p>
<p>The electron microscopes here deploy electron waves; they are working at the scale of 1 angstrom, or 0.1 nanometres. A nanometre is 1x10<sup>-9</sup> metres), or a billionth of a metre. Or, to put it another way, we are working at 0.000000001 metres. This, of course, is all impossible to imagine.</p>
<p>Most humans, Ikkala and his team presumably excepted, are not particularly good at understanding such scale. In <a href="http://www.amazon.com/gp/product/B005DI8D6W/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B005DI8D6W&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">John Lanchester’s book concerning the global financial crisis, <em>&#39;IOU</em></a><em>&#39;</em>, he argues that the average person has no intuition for what large numbers actually mean, a form of everyday innumeracy that has become increasingly problematic.</p>
<p>He suggests we consider the following test, proposed by the mathematician <a href="http://en.wikipedia.org/wiki/John_Allen_Paulos" target="_self">John Allen Paulos</a>:</p>
<blockquote>
<p><em>&quot;Without doing the calculation, guess how long a million seconds is. Now try to guess the same for a billion seconds. Ready? A million seconds is less than twelve days; a billion is almost thirty-two years.&quot;</em></p>
</blockquote>
<p>It’s that sudden unlikely leap in scale that we are constantly being asked to confront today. Ikkala shifts gears easily from the molecular level to that of national infrastructures such as energy grids or logistics networks, and I ask him how he thinks about this.&#0160;</p>
<p>He says that this is “why you see so many names on contemporary research papers”. Most researchers specialise, but not so much in terms of discipline anymore, but in terms of positioning and viewpoint; some are good at the big picture, the vision, whereas some are technically strong, and happiest inside the microscope, conceptually speaking at least.</p>
<p>
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<p>So some of his collaborators at Aalto concentrate on the potential applications of nanotechnology, like photovoltaics for example, whereas others work more on the material itself. This is emblematic of a subtle shift in the orientation of research, Ikkala suggests, with even the latter group conducting thoroughly <em>applied</em> research.</p>
<p>Ikkala lifts the conversation into a geopolitical holding pattern, noting that this is partly why countries like China, Japan and Korea are increasingly leading this research, due to the strategic investments made by Samsung, LG and other industrial giants. That kind of funding tends to focus the mind, to keep your research applied.&#0160; (The composition of his team reflects this drift eastwards too, incidentally.)<strong>&#0160;</strong></p>
<p><strong><br /></strong></p>
<p><strong>iii <a href="http://www.youtube.com/watch?v=PSxihhBzCjk" target="_self">One word, Benjamin</a>: nanocellulose</strong></p>
<p>As a layperson, if you follow the various online sources on nanotechnology, you are frequently swimming in a thick soup of incomprehensible technical concepts and the inadvertent poetry of freshly-minted nomenclature found on a bleeding edge.</p>
<p>Thankfully, Ikkala navigates the journey from molecule to application with some ease, pulling focus onto some of the specific trajectories being pursued at Nanotalo.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049701092/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee3f110c2970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee3f110c2970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049701906/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3c7bb1cf970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3c7bb1cf970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>The key to much of this is <a href="http://en.wikipedia.org/wiki/Cellulose" target="_self">cellulose</a>. This partly reflects the provenance of Nanotalo, where wood is an abundant and renewable source of material, given Finland’s well-managed forestry industry.</p>
<p>Working with the cellulose fibres found in wood involves breaking them down into a pulp and then reconstructing them, working at an almost impossibly small scale, creating a lattice of structurally dense nanocellulose fibres. This is then becomes a gel-like “raw material” that could replace organic polymers derived from petrochemicals.&#0160;</p>
<p>Or, in other words, it might replace plastics.</p>
<p>So the research conducted here looks at how to work with nanocellulose from an intensely practical point-of-view, but Ikkala also knows he has to take a wider, more strategic view when facing an organisation of contemporary life predicated on oil.&#0160;</p>
<p>He describes why oil-based polymers became the default, based on decades of working with plastics and building planetary-scale logistics networks and industrial infrastructure, whose sheer weight—of both the physical and political kind— manifests itself as a kind of “path dependency” that holds back a disruptive innovation like nanocellulose.</p>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017c324d70d1970b" id="photo-xid-6a00d83452a98069e2017c324d70d1970b" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049704800/in/set-72157631680893392"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c324d70d1970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c324d70d1970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e2017c324d70d1970b" id="caption-xid-6a00d83452a98069e2017c324d70d1970b">Tub of nanocellulose solution</div>
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<p>Though the process of refining oil produces “attractive” products at each of its multiple stages of refinement, Ikkala states that, equally, other useful products can be extracted from plant cell wall materials by “biorefining”. Already, long polymers have been prepared by dissolving cellulose to solvents, for use in textiles, for example. The solvents involved are indeed “a little bit complicated”, says Ikkala with a rueful grin. You know when Ikkala says “a little bit complicated”, it’s a little bit complicated like the Eurozone crisis is “a little bit frustrating” or the Pacific’s Mariana Trench is “a little bit deep”.</p>
<p>Ikkala realises he’s talking about “a gradual change of whole society”, as he puts it, a reworking of an interconnected, opaque and impossibly complex tangle of systems that connects driving a car to the production of toothbrushes. But he sees clear advantages in a localised “bioeconomy” based on cellulose, with a fraction of the carbon-intensive production and consumption patterns of our oil-based economy, as well as the possibilities of new products with new properties.</p>
<p>&#0160;</p>
<p><strong>iv Ikkala: “You never know what’s going to happen next”</strong></p>
<p>The list of possibilities for nanotechnology is out of date as soon as you make it.</p>
<p>It veers from “smart” baby clothes that can “listen out” for sleep apnea in infants, to silver nanoparticle inks that enable the “printing” of touch screens, solar cells, and RFID sensors. Or graphene/polymer solar cell surfaces that can either be transparent windows for buildings or digital displays, whilst gathering energy from sunlight in either case.</p>
<p>(The last is based on a simple idea, says Ikkala; it is “an oversimplification, but light goes in and light comes out.” He allows himself a quick little smile at the agreeably circular nature of this.)</p>
<p>We might have rollable, thin, lightweight display technologies, with the good properties of a newspaper (familiar form factor, ability to fold it, roll it or crumple it into a bag or a pocket) without the bad ones (throwaway and wasteful, print-once, fragile, and requiring physical delivery.)</p>
<p>Then there is “cultured meat”, which is grown at home in an incubator and might be invaluable as we face up to water shortages that would otherwise mean the world has to become largely vegetarian in the next 40 years. In a similar vein, as it were, self-assembling nanohemostatic fabrics might prevent life-threatening blood loss in soldiers, spontaneously forming nanofibre dressings, building itself over the wound and actively resisting bacterial infection.</p>
<p>Besides the kind of fabric applications which occasionally make the headlines—like a bullet-proof or “stealth” shirt—there are the prospects of, say, sportswear that is composed of renewable material but lasts decades anyway, that accumulates and displays performance data as you’re wearing it, whilst gathering energy, repelling water, and shifting colour depending on context—all as part of the inherent properties of the lightweight, pliable fabrics themselves.</p>
<p>(imagine what Nike, say, must be thinking about active sportswear that accumulates and displays performance data as you’re wearing it, whilst gathering energy, repelling water, and shifting colour depending on context—all as part of the inherent properties of the fabrics themselves, rather than cumbersome devices sewn on top or strapped to the arm.)</p>
<p>Every now and then a smile slowly spreads across Kokkonen’s face during one of these exchanges with Ikkala. Our minds are racing with the possibilities of these materials, in terms of spaces, objects, environments, and networks.</p>
<p>Ikkala leads us through to a lab full of researchers conducting various experiments on self-assembling nano-structures, some based on using viruses as a material, investigating their emergent organisational properties, while others are testing particular material qualities.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049702610/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee3f103ef970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee3f103ef970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017ee3f10486970d" id="photo-xid-6a00d83452a98069e2017ee3f10486970d" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049703080/in/set-72157631680893392"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee3f10486970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee3f10486970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e2017ee3f10486970d" id="caption-xid-6a00d83452a98069e2017ee3f10486970d">It&#39;s behind you</div>
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<p>(This “self-assembly” briefly brings to mind the infamous end-of-world scenario involving molecular nanotechnology research producing an all-encompassing <a href="http://en.wikipedia.org/wiki/Grey_goo" target="_self">“grey goo”</a> of nano-robots that consume all the Earth’s matter in order to self-replicate. Standing in the lab, it is of some comfort that the concept’s creator, Eric Drexler, retracted the idea that grey goo was likely, or even possible, two decades on.)</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049699215/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c324d6d29970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c324d6d29970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>We watch a scientist experiment on plant virus in fascinated silence. <a href="http://tfy.tkk.fi/home/official.php?id=561" target="_self">Dr Mauri Kostiainen</a> says the virus produces molecular spheres that are consistent in size and shape which, when modified, become a form of building block that they can create nanostructures with. He’s talking more like a structural engineer than a chemist, even though it’s hard to think of building at this scale as being building at all.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049698435/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee3f1182b970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee3f1182b970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>Nearby, researchers are working on materials with superhydrophobic properties. It repels water with an utterly beguiling movement., making me realise I’ve previously misunderstood the word “waterproof”. Neither Kokkonen or I have ever seen water move like this. It slides off the silver plate with a lack of friction that feels like a material property from another world.</p>
<iframe frameborder="0" height="264" src="http://player.vimeo.com/video/50712528?title=0&amp;byline=0&amp;portrait=0&amp;color=ffffff" width="470"></iframe>
<p>&#0160;</p>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017d3c7bb447970c" id="photo-xid-6a00d83452a98069e2017d3c7bb447970c" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049704434/in/set-72157631680893392"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3c7bb447970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3c7bb447970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e2017d3c7bb447970c" id="caption-xid-6a00d83452a98069e2017d3c7bb447970c">Drops of solution, left</div>
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<p>Dipped into a beaker of water, the metal has a startlingly beautiful silver sheen when it catches the light at a certain angle, due to a pristine layer of air bubbles on its surface, perfectly and uniformly refusing the idea of getting wet at some deeply molecular level.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049699047/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3c7ba64b970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3c7ba64b970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017c324d66ce970b" id="photo-xid-6a00d83452a98069e2017c324d66ce970b" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049699699/in/set-72157631680893392"><img alt="Silvery sheen of air bubbles in solution" class="asset  asset-image at-xid-6a00d83452a98069e2017c324d66ce970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c324d66ce970b-500wi" style="width: 470px;" title="Silvery sheen of air bubbles in solution" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e2017c324d66ce970b" id="caption-xid-6a00d83452a98069e2017c324d66ce970b">Silvery sheen of air bubbles in solution</div>
</div>
<p>From the youngest age, we’re primed to recognise and understand material properties.&#0160;</p>
<p><em>“Don’t bend that, be careful with that, that’s sharp, that’s hot, watch this bounce, don’t step in the puddle, kick it like this, you can tear this …”</em></p>
<p>Walking through the live experiments at Nanotalo is like seeing that carefully constructed mental model of physics crumble before your eyes. You have the same dizzying sensation that we find in <a href="http://en.wikipedia.org/wiki/Gulliver&#39;s_Travels" target="_self">Jonathan Swift’s “Gulliver’s Travels”</a>, with its 30 feet-tall tables and four and a half inch horses.</p>
<blockquote>
<p><em>“I have been much pleased with observing a cook pulling a lark, which was not so large as a common fly; and a young girl threading an invisible needle with an invisible silk.” (Gulliver’s Travels, Jonathan Swift, 1726)</em></p>
</blockquote>
<p>Watching these researchers at work feels a little like observing an invisible needle being threaded with invisible silk.</p>
<p>&#0160;</p>
<p><strong>v An exchange between Ville and Olli.&#0160;</strong></p>
<p>Kokkonen asks articulate questions, half sketching out a possible requirement in response to Ikkala’s request for one—“tell me what you need.”&#0160;</p>
<p>Kokkonen describes an idea for work table for home, office, studio which takes advantage of what we’ve heard about these new properties for wood-based products. We wonder aloud as to whether the table could charge devices like phones or tablets, directly from its surface, or carry the signals of wireless networks. It might potentially provide heating, acoustic damping or amplification—which Ikkala says might be achieved using phononic crystals.</p>
<p>The table is the only thing you need in the office. The table <em>is</em> the office; a conduit for power, sound, energy, network, people.</p>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017c324d61cf970b" id="photo-xid-6a00d83452a98069e2017c324d61cf970b" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049705554/in/set-72157631680893392"><img alt="Ville Kokkonen" class="asset  asset-image at-xid-6a00d83452a98069e2017c324d61cf970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c324d61cf970b-500wi" style="width: 470px;" title="Ville Kokkonen" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e2017c324d61cf970b" id="caption-xid-6a00d83452a98069e2017c324d61cf970b">Ville Kokkonen</div>
</div>
<p>Kokkonen tentatively asks whether the surface of the table could also be a display, a display in the wood itself. Ikkala pauses, silent for a while. This is not the infamous “<a href="http://www.hs.fi/english/article/Finns+-+masters+of+silence/1135246072691" target="_self">Finnish silence</a>” that can punctuate conversations here, but a considered set of silent calculations, which finally culminates in a simple, matter-of-fact output—“Yes. It is possible, using thin films of nanocellulose”—almost as if mental ticker-tape unfurling. What you don’t know—what he will say he doesn’t know—is <em>when</em>. The reality implied by his answers could be stretched over 5 years, 10 years, 50 years. But it’s possible, and not just in the sense of <em>“Oh probably, it could be, I guess”</em>, but in that he can see how it is technically possible based on current knowledge. It’s just … we don’t know when.</p>
<p>Ikkala mentions in passing that some butterfly wings do not “produce” colour through pigments, but through the intrinsic iridescent qualities of the wing’s structure itself (see also soap bubbles and beetle exoskeletons). This enables different colours to emerge from different angles. Then Ikkala rhapsodises about the “mother of pearl” (nacre) found inside sea shells. He has a small cardboard box of “props” with him, containing a large seashell with that beautifully polished interior coating. He quickly sketches on the board to indicate how the molecular sheets that nacre is composed of could produce a paper-thin material—actually thinner than paper—yet lightweight, as strong as steel, and with that iridescent sheen.&#0160;</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049700313/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017ee3f10f75970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee3f10f75970d-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>Kokkonen’s head looks like its spinning a bit, as he mentally rattles through the possibilities for materials where colour comes from structure rather than decoration or added chemicals, something like the way Bruno Munari’s head spins in <a href="http://www.iconeye.com/read-previous-issues/icon-066-%7C-december-2008/design-as-art" target="_self">his essay “Fancy Goods”</a>, when he considers the impossibly diverse array of objects not designed by designers. Here, it’s the considerably vaster array of iterations derived from billions of years of evolution’s experimentation. You can see why <a href="http://en.wikipedia.org/wiki/Biomimicry" target="_self">“biomimicry”</a> has become the organising principle for much nanotechnology research, including at Nanotalo.</p>
<p>Kokkonen describes a confidential project they’re working on, where he wants to support a “box” on a simple, thin, lightweight stand. Ikkala asks him how thin he’s thinking. Kokkonen responds that 4 millimetres is about the thinnest they can imagine. Ikkala smiles, and says he had been thinking <em>fractions</em> of a millimetre. They’re an order of magnitude out, and this is turning into an enjoyably absurd conversation, in which each participant is privately thinking at entirely different scales until forced to voice an actual dimension.</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049705814/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017c324d5a7b970b" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017c324d5a7b970b-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<p>Constructing a prototype with Ikkala’s team would lead to entirely different possibilities. Again, you can see it immediately challenges Kokkonen’s preconceptions about what to make—and this is an industrial designer who is more inquisitive and interested in “next generation” material properties than almost any I know. Entirely different product types begin to emerge from the conversation. (Of course, the impossibly-thin-yet-structurally-sound stand would have other issues, becoming almost like an invisible blade. Less than ideal for a family home.)</p>
<p>When Italo Calvino wrote <em><a href="http://www.amazon.com/gp/product/0679742379/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=0679742379&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">&#39;Six Memos for the Next Millennium&#39;</a></em> in 1985,&#0160; he described a set of principles underpinning the values of literature, but whose evocative qualities—<em>lightness, quickness, exactitude, visibility, multiplicity </em>and<em> consistency</em>—have inspired many outside of literature. Indeed, many seem to apply to this conversation we’re having.&#0160;</p>
<p>The architect <a href="http://en.wikipedia.org/wiki/Juhani_Pallasmaa" target="_self">Juhani Pallasmaa</a> later wrote an architectural counterpoint to Calvino’s ideas. His qualities included <em>plasticity, sensuousness</em>, and <em>slowness</em> amongst others. Pallasmaa’s work, like most distinctive Finnish architecture, from <a href="http://www.flickr.com/photos/cityofsound/6104594516/in/set-72157627612332695" target="_self">Jugendstijl</a> to <a href="http://www.flickr.com/photos/cityofsound/4674055720/in/set-72157627612332695" target="_self">Saarinen</a> and <a href="http://www.flickr.com/photos/cityofsound/6189322027/" target="_self">Aalto</a>, is deliberately slow and heavy, preferring multi-sensory, especially tactile, experience, derived from a deep understanding of traditional material properties.</p>
<p>Yet entirely different material properties are emerging from this applied nanotechnology research, breaking down many of these “rules”. When <a href="http://en.wikipedia.org/wiki/Louis_Kahn" target="_self">Louis Khan</a> craftily asked “What does a brick want to be” his answer was “an arch”, as our understanding of form is symbiotically tied to our understanding of material properties, as well as culture. So, in turn, Kokkonen’s understanding of typical forms—what could a table <em>be</em>?—is immediately challenged by these new properties. We don’t yet know what this will mean formally—what a brick will suggest in future—but it looks like we’ll be combining properties, forms and functions in ways that go well beyond even our most creative minds.</p>
<p>In other words, we can now achieve Pallasmaa’s slowness and plasticity but with Calvino’s lightness.</p>
<p>A further irony is that many of these new properties are derived from pre-human material innovation in natural processes. Nanotechnology is actually revealing the qualities of the deep past as much as the near future, with a biomimetic approach leading to a fresh understanding of everyday materials like wood or insect shells. The properties feel new and foreign, when viewed through the lenses of Nanotalo, but they are all around us every day and always have been.</p>
<p>&#0160;</p>
<p><strong>vi Cellulose dreams</strong></p>
<p>What is distinctly new is our ability to work with the material in new ways. For example, Ikkala is particularly excited by the potential of additive manufacturing networks.&#0160;</p>
<p>With small, affordable 3D printers located at hand we could find, purchase and ship the “recipes”—the digital files—by which we produce things, source the materials and fabrication locally, and then “logistics” need only be the last few hundred metres. If you smash a cup in your kitchen, you simply recycle it and print another off in the garage. If you need a replacement part for your bike, you send a file to the local newsagent’s 3D printer and walk down there to pick it up a few moments later. Need another stool for your drinks party later? “Fab” one in a matter of minutes.&#0160;</p>
<p>
<a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049700640/in/set-72157631680893392" style="display: inline;"><img alt="image from www.flickr.com" class="asset  asset-image at-xid-6a00d83452a98069e2017d3c7ba524970c" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017d3c7ba524970c-500wi" style="width: 470px;" title="image from www.flickr.com" /></a></p>
<div class="photo-wrap photo-xid-6a00d83452a98069e2017ee3f1021b970d" id="photo-xid-6a00d83452a98069e2017ee3f1021b970d" style="display: inline-block; width: 470px;"><a class="asset-img-link" href="http://www.flickr.com/photos/cityofsound/8049695691/in/set-72157631680893392"><img alt="3D printer in the lab" class="asset  asset-image at-xid-6a00d83452a98069e2017ee3f1021b970d" src="http://www.cityofsound.com/.a/6a00d83452a98069e2017ee3f1021b970d-500wi" style="width: 470px;" title="3D printer in the lab" /></a>
<div class="photo-caption caption-xid-6a00d83452a98069e2017ee3f1021b970d" id="caption-xid-6a00d83452a98069e2017ee3f1021b970d">3D printer in the lab</div>
</div>
<p>This potentially changes almost everything, destabilising our current models of carbon-intensive industralised production, and its associated logistics and retail networks, to the extent that they could be no longer viable. The ability to produce locally kickstarts a repair culture born of aspiration rather than subsistence, as well as thriving local craft and manufacturing scenes. <a href="http://www.cityofsound.com/blog/2011/06/on-retail.html" target="_self">Studios return to streets</a>. Cities are quieter and cleaner. Culture is localised and active. All have vastly smaller carbon footprints.&#0160;</p>
<p>The issues with this vision are very real, however—design quality, intellectual property rights, throwaway production and consumption, printers that necessitate a space that can store raw materials, handle plastic offcuts, and contain relatively noxious fumes…</p>
<p>Another stumbling block is the raw material for 3D printers, which is usually imported plastic. A few days later, visiting <a href="http://fablab.aalto.fi/site/" target="_self">Aalto University’s Fab Lab</a> and talking to its creator, Massimo Menichinelli, he points out how all the raw materials for the 3D printers—usually various forms of plastic—arrive from the East. We might simply shift from shipping fridges from Singapore to shipping oil-based polymers. Europe already imports 80% of all materials across its borders.&#0160;</p>
<p>Yet this is where nanocellulose fibres might come in: as a new raw material for 3D printers. Just as timber produced the paper for the desktop printers that squatted on our desks for the last 30 years, timber might produce the raw material for the 3D printers that may be found at home in the next 30 years.&#0160;</p>
<p>For Ikkala, this is a high-value exchange, reversing our exploitation of an advanced material (wood) to produce a low-value product (paper and pulp). Instead we use advanced material to produce advanced material. We take a “valuable natural resource and produce high tech, not toilet paper,” he laughs.</p>
<p>Wood is already “coming back” to the construction of tall buildings, through cross-laminated timber (CLT), which could replace carbon-intensive concrete and steel with a fire-safe, light and low-carbon alternative. In fact, it could well be that the new cities of the near-future are increasingly wooden cities—which is both a neat reversal of most sci-fi visions of the last century and a <em>mise</em><em>-en-scene</em> still within Nordic cultural memories.</p>
<p>But if renewable nanocellulose fibres can find their way into distributed additive manufacturing networks, it might be that it’s not only the buildings of our future cities that are made of wood, but the objects, fabrics and products too. It’s an extraordinary thought, and Finland is well-placed to capitalise, being largely composed of the stuff. However, with one of the largest carbon footprints per capita in Europe, the country’s decision-makers—in parliament or on the streets—doesn’t show many signs of seriously and systemically engaging with sustainability any time soon.</p>
<p>There are fierce debates about sustainability implicit within the conversation here. For instance, do you build things using materials that might last 1000 years, or design for an additive culture of modification and repair?</p>
<p>Waste is largely a cultural problem. It’s not that we <em>have</em> to deploy nanocellulose to produce long-lasting products. It’s a science-based, rather than social science-based, approach in which technology comes to the rescue—and we must bear in mind that those previous decisions to build a unsustainable suburban lifestyle predicated on oil were also “sold” as a convincing technological solution at the time.</p>
<p>Yet Ikkala’s bigger picture is convincing. The design writer <a href="http://wp.doorsofperception.com" target="_self">John Thackara</a> has written of the need for “macroscopes” as well as microscopes. With a macroscope, we might look at the subject—a product, service, event—but then zoom out to the broader systemic impact of such subjects, from the humble transparent 3D printer on a cluttered desk in these labs to the scale of Finland’s patterns of living shifted by the accumulated effect of such devices.</p>
<p>The macroscope concept is relevant to flushing out the systemic implications of these developments, positive and negative. Interestingly, the research going on at Nanotalo might be unique as it genuinely requires both macroscopes and microscopes.&#0160;</p>
<p><strong>&#0160;</strong></p>
<p><strong>vii Transdisciplinary</strong></p>
<p>Macroscope and microscope could even be a competitive advantage, not just a methodological safeguard. If ever research work needed to be contextualised, conceptualised and challenged by a “transdisciplinary” environment it is this. Several times in our conversation, Ikkala asks for a statement of what we might want to know, or what we might want to achieve. Our problem is that we don’t know. We don’t know what is possible with these new materials any more than Ikkala knows what Kokkonen or I might want to do with it. It’s a creative Catch 22, requiring a new kind of research, as well as a new kind of design practice.</p>
<p>At one point, when I press him about this transdisciplinary mode, Ikkala says, “When you work on individual molecules, you <em>are</em> physics and chemistry, and sometimes also biology.” Nanotechnology largely eradicates our old disciplinary boundaries at a stroke. Were those separate sciences simply a by-product of the sensitivity of our instrumentation?</p>
<p>As well as a horizontal merger between what you might call silos of knowledge, there is a vertical convergence too, a creative collapse of process. Rolls Royce and GE, for example, have merged their design, materials research and manufacturing processes, largely as a result of the same general interdisciplinary advances. Instead of a sequential pipeline, they can now effectively progress from materials breakthrough to design sketch to manufacturing output, or vice versa, with huge benefits in terms of what they can produce and how they do it.</p>
<p>This does not just apply to industrial corporations, of course, but perhaps most naturally at the scale of the small firm with new tools. A design practice like London’s <a href="http://berglondon.com" target="_self">BERG</a>, for instance, combines interaction design and communications design, filmmaking and software, industrial design and electronics, manufacturing and fabrication, and more besides.</p>
<p>Or look at <a href="http://christakis.med.harvard.edu" target="_self">Nicholas A Christakis</a>, who is both a physicist and social scientist at Harvard, and his work at the intersection of the social and natural sciences, discussing sociological concepts like cooperation via research into how “sub-organismic biological entities” cooperate.</p>
<p>At Nanotalo, Ikkala says he’s “proud that they don’t educate any particular profession; we train people to solve problems.” But again, back to that Catch 22. To conduct applied research, which is where the funding is as well as the fun, the scientist needs to know a novel application for their work. Yet the designer needs to know what the material can do in order to conceive of a novel application, at least to some extent. The only way you can square this circle is through collaboration.</p>
<p>But, as I point out to Ikkala, it’s not as if you can wander down to the local coffee shop with your massive electron microscope and hang out there until good ideas emerge through osmosis.</p>
<p>Ikkala nods. “No-one is good in all things. We are good at some things, we are not good at others, but we don’t yet have a tradition of developing research with people with real needs. That’s why I take these kind of conversations very seriously.”</p>
<p>These conversations, judging by Kokkonen’s reaction alone, will generate new possibilities, but we all agree that they don’t happen enough.</p>
<p>&#0160;</p>
<p><strong>viii The adjacent possible garage</strong></p>
<p>The science writer <a href="http://www.stevenberlinjohnson.com" target="_self">Steven Johnson</a>, in <em><a href="http://www.amazon.com/gp/product/1594485380/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=1594485380&amp;linkCode=as2&amp;tag=cityofsound-20" target="_self">&#39;Where Good Ideas Come From&#39;</a></em>, describes the idea of the “adjacent possible”, all the possible outcomes available from a given state, “a map of all the ways in which the present can reinvent itself (where) its boundaries grow as you explore those boundaries.” Rich and diverse environments, like dense cities and coral reefs, flourish in this respect, due to the number of ways in which “ideas” can be combined and recombined.</p>
<p>If Aalto University has its head screwed on right, it will be doing everything it can to get the kind of work that Ikkala is doing genuinely integrated with its other disciplines, to open up the lab and co-locate it with other practices and sensibilities. You want a designer like Kokkonen listening, learning and collaborating with Ikkala’s team, you want a sociologist there, an engineer, a writer, and so on. You want discipline boundaries to crumple upon impact with each other, and new maps to be formed, in order that we might generate the richest possible adjacent possibles.</p>
<p>This is a challenge for Finland, with its relatively hierarchical culture, but also an opportunity. Like many countries, Finland will not thrive simply via cultural legacy and traditional approaches to pure and applied research in this area—compared to Japan, China and Korea it doesn’t have the budgets, or the strategic ecosystems, or a large enough talent pool.</p>
<p>Yet Finland’s advantage could be in converging and synthesising disciplines, in building new kinds of transdisciplinary collaboration. It might build on its strong design and engineering heritage and integrate with facilities like Nanotalo.</p>
<p>This asks serious questions of the structure, culture and capacity of universities in the first instance. Certainly, in the immediate context of Nanotalo, this is something else that needs to be fabricated. Those other disciplines are located elsewhere and managed differently, and as the Otaniemi campus is basically a suburban incursion into a forest, there are no urban conditions that might better enable collaboration through propinquity.</p>
<p>Yet recall that “Nanotalo” had once been a garage. OK, a garage for a building designed by Alvar Aalto, but a garage nonetheless, a leftover space, a utilitarian space, a work space. The humble garage happens to be one the most productive types of environment around, and particularly for ideas on the edges of knowledge and practice, for boldly sketching out the adjacent possible.</p>
<p>When Steven Johnson discusses the origin of good ideas, he says “in reality they’ve been cobbled together with spare parts that happened to be sitting in the garage.” And remember Building 20 at MIT, and that “garage culture” provided the fertile terrain for Apple, Hewlett-Packard, Google and much of the digital revolution that has shaped the last three decades.&#0160;</p>
<p>What does this former garage outside Helsinki have in store for the next three decades? If we can begin to strategically spread the garage culture of Nanotalo such that this materials research emerges in genuinely productive transdisciplinary fashion, in unlikely and unforeseen creative collisions, how might we all benefit?</p>
<p>The work done by Ikkala’s team is genuinely extraordinary. In a world predisposed to hyperbole, it is worth dwelling on that word: it is <em>extra-ordinary. </em>You get the sense that this thinking and practice could genuinely change the world.&#0160;</p>
<p>Yet I’m left wondering how to make that happen. How might we derive a new kind of transdisciplinary practice that can nimbly sidestep the legacies of previous boundaries—across research, yes, but also policy, infrastructure, spatial organisation, culture, commerce—to realise the true potential of working with ancient materials in new ways.</p>
<p>As with most important work, we’re left with good hard questions rather than deceptively easy answers.</p>
<p>It’s the end of our conversation. We shake hands at the end of a fascinating morning. I turn to say something to Kokkonen, turn back, and Ikkala’s already disappeared. I see him scurrying away down a corridor, at speed, heading into the adjacent possible.</p>
<p>
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<dc:subject>Architecture</dc:subject>
<dc:subject>Design history</dc:subject>
<dc:subject>Engineering</dc:subject>
<dc:subject>Essays</dc:subject>
<dc:subject>Science</dc:subject>

<dc:creator>Dan Hill</dc:creator>
<dc:date>2012-10-04T01:52:15+03:00</dc:date>
<feedburner:origLink>http://www.cityofsound.com/blog/2012/10/garage-of-small-things-nanotechnology.html</feedburner:origLink></item>


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