brick and mortar

Give a mason bricks and mortar and tell him to cover a space and let in light, and the results are astounding. The mason, within his limitations, finds unending possibilities, there is variety and harmony; while the modern architect with all the materials and structural systems available to him produces monotony and dissonance, and that in great abundance.

jamshid kooros

in architecture without architects by bernard rudofsky

also: limitations.

on the street

bolsover street, W1W.

responsible for lemons

- that lemon—it's nice.
- it's good, isn't it?
- how often do you replace it?
- every week, in fact. it's an important detail.
- very nice.
- betty up there is responsible for the lemon. she terrorises the sainsburys staff.
- oh?
- it's difficult to find a lemon the same shape as the last one. but she always does.

kettle's yard
castle road, cambridge CB3 0AQ

questions

I find it very precarious for a culture only to be able to measure performance and never to be able to credit the questions themselves ... As the questions go up, the performance level goes down—and that's natural, since people don't yet know how to act on those questions, they're stumbling around in a fog—whereas when performance goes up the quality of the questions tends to go down.

robert irwin

in lawrence weschler's seeing is forgetting the name of the thing one sees

in the bag

this is a completely disinterested public service announcement.



my black medium deluxe courierware bag is now 12 years old. i have used it literally nearly every single day for over a decade; of everything i own and have owned, i have used this the most.

just enough pockets, just waterproof enough, just big enough, with branding so reticent as to be nearly invisible. it will easily accommodate a laptop, charger pack, cellphone, book, emergency fruit supply, water, and a change of clothing, with room to spare. i can use it as my only bag on anything up to a four-day trip. it handles odd loads with grace: i have carried sharp-edged volcanic rocks in it, as well as rare books, chunks of glacial ice, a large watermelon, and an entire case of wine (not all at the same time). stuffed with a fleece, it is a serviceable pillow for those nights you spend sleeping in, for instance, a rental car parked in the empty lot next to a motel in el paso or the departure lounge of the bangkok international airport.

people treat their old courierware bags the way people treat their old patagonia clothing; fortunately—unlike new patagonia clothing—new courierware bags are not pieces of overdesigned crap.

once, long ago, courierware were in cambridge, ma between the dolphin seafood restaurant and café sushi on mass ave. these days they are in randolph,vt. i know from personal experience that they are serious about their lifetime warranty. do you value quality and restraint over fashion and flash? would you like a messenger bag you will never have to (or want to) replace and which grows better with age? there is no time like the present.

hail champagne

Hail, of course, is the great enemy of outdoor exposed neon tubing. Hailstorms often caused sign shops to break out champagne.

rudi stern, let there be neon

tacit, inexplicable knowledge

There’s a lot of work being done today that doesn’t have any soul in it. The technique may be the utmost perfection, yet it is lifeless. It doesn’t have a soul. I hope my furniture has a soul to it. I do not feel that it is possible to make a working drawing with all the intricate and fine details that go into a chair or stool, particularly. Many times, I do not know how a certain area is to be done until I start working with a chisel, rasp or whatever tool is needed for that particular job.

sam maloof

the german tradition

Volkmar Arnulf stresses that to him bespoke tailoring is about the customer’s need, not imposing a style on the customer ... As a tailor you are embedded in a certain history of tailoring but a first-class bespoke tailor should try to find out what serves the customer using all his knowledge and tools. "I always try to figure out, which line will make the customer look as good as he possibly can. Later, when striking the pattern, I apply various thought models to reach the right result ... How can a computer do that?"

torsten grunwald

katsuhira's tiger

this long but worthwhile video documents ford hallam's meticulous reconstruction of the lost half of a pair of tsuba by hagiya katsuhira. nearly every stage is embedded in the workmanship of risk: the further along, the more stands to be lost by the commission of even a small error in work.

slow is always better ... you have to feel what's going on. this is why i reject power tools. they're simply far too fast. you can't feel the irregularities. the tool simply takes over.

[found thanks to joakim]

observation

In short, men will find out that the men of our days were wrong in first multiplying their needs, and then trying, each man of them, to evade all participation in the means and processes whereby those needs are satisfied; that this kind of division of labour is really only a new and wilful form of arrogant and slothful ignorance, far more injurious to the happiness and contentment of life than the ignorance of the processes of Nature, of what we sometimes call science, which men of the earlier days unwittingly lived in. They will discover, or rediscover rather, that the true secret of happiness lies in the taking a genuine interest in all the details of daily life.

william morris, "the aims of art"

on which, also see david pye and t.h. white.

the entire staff

it continues to be my privilege to be acquainted with the entire staff of kat ran press. this week, i paid a too-short visit to its tastefully appointed, digitally warmed offices on myrtle street in cambridge, ma—a visit which demonstrated that while bad taste is ubiquitous, the exception proves the rule. the kat ran checklist you see above, under a copy of dogs are OK, is a catalogue raisonné containing a tough-minded, superb essay on design that does not exist online.

a good time was had by all. or, at least, by me.

resincloth hull

just lying around the media lab.

happiness comes from good coffee

i have been buried beneath a pile of paper for days, but emerged briefly for a cup of coffee last friday morning. on the table for show and tell was the kodawari coffee issue of brutus*, another reminder (as if we needed one) that in the elaboration, codification, production, and reproduction of nuance and detail the japanese yield to no-one.

*(more)

pithy

this summarises most of my feelings about cars and bicycles, though it leaves out the grim frustrations of parking in crowded cities, motorists who don't look when they open their doors or make turns, the particularly dispiriting nature of bicycling in wintry mix, and the gloom of car insurance and deductibles.

[found thanks to david neale, who is very cool*]

* did you click on the link and think "wtf?" don't fret: it is a feature not a bug. david neale is an australian jeweler and that is some item of personal adornment in the shape of a slice of rye. it is also available in danish.

salem

though the streets were overrun with orange, kettle korn, people in bad costumes, and fake cobwebs, jaho on the waterfront was empty and quiet. a kopi-c, a syphon, and a french press, and an hour and a half passed effortlessly. a&j king, earnestly artisanal bakers, was filled with the scent of butter and frangipane—but the locust-like swarms of halloween revelers had cleaned them out of all but a few classically formed brioches and cinnamon caramel cookies.

moshe safdie's addition to the peabody essex museum graciously balances light, air, mass, and gravity. it feels much like a small-scale version of the foster and partners great court in the british museum. there are many other wonderful things about the PEM. the main atrium contains a neat anish kapoor mirror sculpture (halo), though it would have been even more awesome suspended from the ceiling. the curatorial staff have taken the unusual approach of displaying artifacts from the historical collections with sly, smart interjections of modern and contemporary art and craft objects. why don't more museums with holdings in a range of periods do this? (louisiana in denmark is another noteworthy exception.) some pieces are tastily surprising: in the gallery of native american art, there is an avant-garde cape that appears to be fabricated from long strips of a translucent and silvery polymer, like something issey miyake would do. in fact, it is an unangax cape from the aleutian islands of alaska, made of pieces of sea lion intestine and dating to the early 19th century.

we took a short break at scratch kitchen, where the staff seemed overjoyed to be working on a drizzly and overrun sunday. 2pm is not too early for a beer when boulevard's tank 7 is on draft, and the pulled pork sandwich came on a firmly griddled bulkie roll which had not been made impenetrable by being toasted on the outside. i ate my half and then, when no one else was looking, the half that was not mine. the mac and cheese with bacon was made with orrechiette and the bacon, as advertised, made it "unspeakably delicious." the cauliflower soup had been passed through a tamis and was served with a drizzle of truffle oil—in this case a completely appropriate deployment. the owner once worked at harvest. a fine lunch in an unexpected spot.

back to the PEM, where the japanese galleries are particularly overstuffed with great stuff, including a monumental—yet modular—circular bench made of red oak with black lacquered hemp sections masquerading as gallery furniture. but where is the rest of e.s. morse's collection of japanese quotidian objects? let's hope that their massive planned expansion will return that collection to permanent display.

we had to leave when the museum closed for the day, but i did not want to.

nearly there

[from the archive]

R&D in high-end cuisine looks a lot like R&D anywhere else, but some of its frustrations are domain-specific. up top, a dish that was nearly there but, as things turned out, not quite there enough.

read more here in the first of a series of vignettes on hydration is our highest priority illustrating life in some parts of the remarkably small world of research and development in food.

mind, hands, tools

Science originated from the fusion of two old traditions, the tradition of philosophical thinking that began in ancient Greece and the tradition of skilled crafts that began even earlier and flourished in medieval Europe. Philosophy supplied the concepts for science, and skilled crafts provided the tools.

freeman dyson, the sun, the genome, and the internet

the nature and art of workmanship

People are beginning to believe you cannot make even toothpicks without ten thousand pounds of capital. We forget the prodigies one man and a kit of tools can do if he likes the work enough.

david pye, the nature and art of workmanship 

the essence of origami

I'm not trying to make a photograph, I'm trying to capture the essence, the impression of something. Some subjects I come back to over and over—cicadas, simple birds. I can do them in a different way and get ever closer to my mind's-eye image of what they ought to look like. You wouldn't think that origami could be reduced to equations, but some parts of it can. But the artistic aspect will never be captured in equations.

robert j. lang, "into the fold."

on which, also see arthur ganson, robert irwin, and the unknown craftsman.

gestural engineering

i'm reading, as i do every year, seeing is forgetting the name of the thing one sees, which is both a biography of robert irwin and an extended discussion of what it means to think about making a thing. the book is rich with interesting stuff for anyone willing to spend some time with it. it also represents a minor stream of thinking which currently appears scattered and diffused across many fields (computer science, organizational theory, design, manufacturing, and others): accounts of grasping not for mastery of a concrete thing but the abstract generative principle that produces concrete things of that class.

for instance, take arthur ganson. ganson is the MIT sculptor in residence, and the MIT museum has an ongoing exhibition of his work (note for cambridge residents: admission to the MIT museum is free today, 4/20, as part of the cambridge science festival). this is ganson's TED presentation (the embedded video will start at the beginning of the section transcribed below):

just as in robert irwin's work, there's a sense that there is a platonic ideal concept straining to emerge, that the process of making is a process of getting closer (but never close enough) to the realization in the real world of the idea in the mind:

i imagined a very simple gestural dance that would be between a machine and just a very simple chair. and when i'm making these pieces, i'm always trying to find a point where i'm saying something very clearly and it's very simple, but at the same time it's very ambiguous. i think that there's a point between simplicity and ambiguity, which can allow a viewer to perhaps take something from it. and that leads me to the thought that all of these pieces start off in my own mind, in my heart, and i do my best at finding ways to express them with materials. and it always feels really crude, it's always a struggle, but somehow i manage to get this thought out into an object. and then it's out there. it means nothing at all, this object just means nothing. but once it's perceived, and someone brings it into their own mind, then there's a cycle that's been completed. to me, that's the most important thing, because being a kid i wanted to communicate my passion and love and that means the complete cycle of coming from the inside, out to the physical, to someone perceiving it.

ganson has also posted footage of the performance of machine with chair, which includes the setup.