From the San Francisco Chronicle, November 13, 2003:

Provocateur becomes a pragmatist

“‘We’re into Looney Tunes’ is how Eisenman described current design trends to a nearly full house at Yerba Buena Center for the Arts. ‘Ultimately, architecture is not about putting images in the New York Times, but about creating places for people to be.... Architecture has gotten more and more frenetic. It has spun out of control.’...

‘The New York Times demands these [unconventional] images because dumb, straightforward images don’t sell papers,’ Eisenman said, but he also took a bit of the blame: ‘I’m probably partly responsible. I’m not pointing fingers.’

What shifted his perspective, one senses, was the rending experience of Sept. 11, 2001. Eisenman and his family saw the second plane hit, and his son still won’t go in their building’s elevator alone. ‘He walks up 21 floors. We say, “Hey, Sam, that’s a little crazy, there won’t be an attack because you’re in an elevator,” but he feels threatened.’

So when Eisenman says that ‘we need to rethink architecture after 9/11,’ his starting point is something more vivid than any sort of intellectual theory: He was there. And amid all the tragic losses of the terrorist attacks was a reminder that buildings, neighborhoods, cities aren’t abstractions or metaphysical conceits — they are real, and they are where people live and die.

‘The experience of being in that place was very different than watching it [the attack] in Berlin, Tokyo, Madrid, whatever,’ Eisenman said.

Even with this shift in perception, it’s hard to imagine Eisenman leading a back-to-basics movement. He’s too dazzled by the new; later in the lecture, for instance, he enthused about how computers can record design patterns and then replicate them like a virus. Lines generated onscreen ‘can have a direction, a force, an intensity... they start to be more organic.’

And yet the lecture ended with a subtle surprise. It was Eisenman’s design for a train station near Naples, and it was a word that probably has never been associated with his work: lovely. ...

After the talk, Eisenman relaxed at a small dinner hosted by the local branch of the American Institution of Architects, one of the lecture’s sponsors. And he talked about... concrete.

Specifically, he expounded on the chore of making sure the 2,751 huge pillars at his Memorial to the Murdered Jews of Europe in Berlin have the proper look and feel. So Eisenman finds himself in Berlin at least once each month confronting workers over the quality of their mortar and mixed cement.

‘I used to say that what finally got built didn’t matter — what counted was the design as I saw it in my head,’ he said, then chuckled. ‘I can’t believe I ever thought that.’”

From Daoud Sarhandi in the Autumn 2003 issue of eye magazine:

‘Femicide’ posters

“El Paso, Texas, and Ciudad Juárez, a city of 1.5m people in the northern Mexican state of Chihuahua, are less than four km apart. Yet no two cities could be economically further apart. The shantytowns spread out around Juárez are home to a vast number of indigenous migrant workers who come there from the unemployment black spots of the agrarian south. Many hope to go further, ‘la otro lado’ [to the other side], but most get stuck in the slums, working all hours, earning barely enough to survive.

Women — many as young as fourteen — comprise 70 per cent of the Juárez workforce. They eke out a four-dollar-a-day living in the maquiladoras — sweatshop factories that have mushroomed along the border since Mexico signed up to the North American Free Trade Agreement in 1992. Yet in addition to exploitation and squalor, the women of Ciudad Juárez are oppressed by a murder rate that has attracted worldwide revulsion.

Statistics show that since 1993, at least 300 young women have been kidnapped, raped and killed — their bodies often defiled. Some 190 of these murders have occurred in the past six months; during the same period nearly 100 more have gone missing, presumed dead. The real toll may be higher, since many women do not have families living locally and their disappearances can go unnoticed and unreported. An open letter sent to the Interamerican Commission on Human Rights by angry Juárez residents puts the ‘disappeared’ figure at 450 in the past ten years.

In the face of almost unbelievable official apathy and police incompetence, a group of graphic designers from Mexico City invited colleagues to express their concern and outrage by designing posters around the slogan ‘The Woman of Juárez Demand Justice’.

The first design activity — initially proposed by Rafael López Castro — was timed to coincide with last year’s International Day for the Elimination of Violence Against Women (25 November 2002), when protest marches against the Juárez killings took place in several towns. Nine designers produced a series of images for a support group working in Ciudad Juárez, which then distributed them to other groups dealing with domestic violence. Alejandro Magallanes and Leonel Sagahón, two designers at the centre of this project, point out that the designers gave away their images, encouraging the protest groups to apply their own text and messages.

Organised by Arnulfo Aquino and Xavier Bermúdez to mark International Women’s Day, the second event took place in March 2003. An exhibition of more than 60 large-format images by designers from all over the country was staged in a Mexico City metro station. Displays and exhibitions are often mounted in these big spaces: in a city of 20m-plus they are seen by huge numbers of people who may not often visit museums and galleries. Though Magallanes and Sagahón find several of the posters totally inappropriate, even offensive, no designs were censored from the exhibition.

López Castro notes an honest, if sometimes naíve, attempt to deal with a tough issue: the relationship between the sexuality of young, poor women, rape and murder. It has often been observed that the victims fit a series of patterns: apart from the fact that almost all come from the lower economic strata, the majority are in their teens, slim, attractive, and with long dark hair. Irresponsible local officials in Chihauhau have often blamed the girls themselves for the killings, citing the fact that they were out late and alone, or were wearing short skirts and make-up. Many designers saw these crimes — and the official reaction — as an attack on femininity itself.

López believes that the strength of this project rests in its role as a ‘collective shout’, intended to wake up the general population and the authorities. ‘It is important to see real problems,’ says Sagahón, ‘not just ‘design’ and ‘communication’ problems. We are designers, but we are also citizens, and we are also people.’

‘It was amazing,’ says Magallanes, ‘to see whole families standing in front of these posters and talking about this very difficult subject.’ One outcome of this publicity is that rather than continuing to rely on the hopelessly ad hoc investigative methods of the Chihuahua law enforcement agencies, the office of the Federal Prosecutor has now decided to investigate a number of the murders on behalf of the national government. Yet the murder phenomenon — or ‘femicide’ — shows no sign of abating. On the contrary, chillingly, it seems to be spreading to other northern Mexican towns with similar socio-economic conditions.”

The Center for the Study of Political Graphics has posted images of 60 posters online.

For more information on the violence in Juárez, see juarezwomen.com and womenontheborder.org.

Daoud Sarhandi is a co-author of Evil Doesn’t Live Here: Posters of the Bosian War.

From Turning Down the Global Thermostat by Christopher Hawthorne in the October 2003 issue of Metropolis:

“Traditionally assessments of U.S. energy consumption have been broken down into four categories: industry, which consumes about 35 percent of the total each year; transportation, 27 percent; residential, 21 percent; and commercial, 17 percent. Significantly energy consumption usually tracks pretty closely with carbon dioxide production because most of the energy consumed is in the form of fossil fuels, which release greenhouse gases — primarily carbon dioxide, methane, and nitrous oxide. Thus a pie chart showing carbon dioxide divides along roughly the same ratios as one showing energy use. ‘In every study it’s always broken down the same way,’ [Edward] Mazria says, ‘so when you look at it and ask who the bad guy is — it’s industry.’

Mazria’s eureka moment came when he decided to redraw that pie chart with a separate slice just for architecture. He did this by combining the residential and commercial sectors, and then adding the portion of the industry sector that goes to the operation of industrial buildings and their construction. To get this last group of numbers Mazria used estimates of the so-called ‘embodied energy’ of industrial buildings. A key statistic for anybody hoping to build in a sustainable way, embodied energy is a measure of the total energy required to produce a particular material or building component and get it to a building site.

Mazria’s new math brought the architectural sector to a whopping 48 percent of total U.S. energy consumption. A similar rearranging of the chart for carbon dioxide production left architecture with 46 percent of the total. ‘I rounded the numbers down,’ he says. ‘I want to be careful about my numbers because people are going to attack them.’

What all of this means for Mazria is that the environmental movement has been scapegoating the wrong targets. ‘Look at SUVs,’ he says. ‘All the cars and trucks on the road account for about 6.5 percent of energy consumption in this country. If you figure SUVs as half of that, that’s 3, maybe 3.5 percent. So even if you doubled the gas mileage of every single SUV on the road, you’re talking about a marginal impact in a marginal area, all things considered. That kind of misguided focus actually keeps us from addressing the real issue.’ In other words, we’re worrying about cars when we should be worrying about buildings....

But is it fair to make architects responsible for the damage caused by the entire building industry? Mazria thinks so. He cites figures suggesting that architects design 77 percent of all nonresidential buildings, along with 70 percent of all multifamily and 25 percent of all single-family construction. And he argues that the percentage of architect-designed buildings is in fact higher than that because, as he writes, those figures ‘do not account for owner-supplied plans that were originally from architecture firms, designs by staff architects employed by building owners and developers, and single-family houses designed (but not stamped) by architects and interns.’

In Mazria’s mind, then, the architect is a perfectly legitimate new poster child for global warming: the leading part of the problem as well as, potentially, the solution. ‘Architects — and the government tends to forget this — specify every single material that goes into a building, from faucets to paint to carpet to wall materials to finishes to windows to roofing,’ he says. ‘Architects have the ability to change entire industries with the stroke of a pen. If we specify a material with low carbon dioxide emissions in its fabrication — say, floor tile, carpet, gypsum board — industry will respond. This is the American way. Architects are consumers; they’re not always aware of the incredible power they have to change the way products are manufactured.’...

He writes in his white paper: ‘We already know that buildings can be designed today to operate with less than half the energy of the average U.S. building at no additional cost. The design information needed to accomplish this is freely available.’...

The approach has also led the architect to criticize more quantitative and regulatory green initiatives, including the U.S. Green Building Council’s LEED certification program, which is currently the most expansive one in use in this country. ‘LEED-type programs can actually be damaging,’ Mazria says, ‘because they shift decisions about sustainability out of the realm of design at the workplace and put it in a separate, purely technical category. So every firm needs to get one person LEED certified, and they usually send the technical guy, not a design guy. And then that technical guy becomes the guy who has to get your design in shape for LEED, and that process becomes divorced from design.’”

See Edward Mazria’s original article from Solar Today (1MB PDF).

Juanjo Seixas writes in about Read Regular, a typeface designed specifically to help people with dyslexia read more effectively.

From the Read Regular Web site:

“Britain has two million severely dyslexic individuals, including some 375,000 schoolchildren. 10% of people using ‘Romance’ languages are coping with a reading difficulty. Dyslexia is a combination of abilities and difficulties that affect the learning process, displaying a wide range of difficulties. Dyslexia can occur despite normal intellectual ability and teaching, and it is independent of socio-economic or language background. The British Dyslexia Association

There has been growing innovation to combat dyslexia, especially for children, in the form of computer software. However, relatively little design research has been done in the area of typography and type design that might support dyslexics. Read Regular is a typeface designed specifically to help people with dyslexia read and write more effectively.

Read Regular aims at preventing a neglect of dyslexia, creating a more confident feeling regarding the problems that occur with dyslexia.

Read Regular is designed with an individual approach for each of the individual characters, creating difference in the actual characters of b & d itself (not mirroring the b to make the d), to create a large character differentiation.

The character shapes are simple and clear, creating consistency. The characters have been stripped down from all unnecessary details — such as a two storey a and a two eyed g.

The individual approach creates striking outlines that make sure that each character stands on its own and works together with its previous or next character. Used in the content of words, sentences and text, the following or the previous character does not try to interfere in its readability process. Ascenders (bdfhkl) and descenders (gjpqy) are long to ensure their legibility. Inner shapes for example within the o, e, a, u and openings in e and g are kept open to prevent from visually closing in. This makes Read Regular a friendly character and a pleasant balance between black and white.”

This story from Wired News talks a bit more about the genesis of the project.

Ricardo Levins Morales, from an abstract of Art, Organizing, and Memory:

“The telling of history is more than an exercise in documentation. It has always been an important element in shaping history. Historical narrative provides important information about both specific tactics and strategies and broader possibilities for action. Consequently, the struggle to control the memory of events is an important element of social conflict.

The Northland Poster Collective participates in this aspect of social (particularly workplace) struggles on three levels. Working with organizers and rank and filers we help them to identify and redefine the workplace narrative. To effectively organize, it makes a difference whether workers see themselves as part of a big, happy family; as engaged in a David vs. Goliath struggle; as rugged individuals who must each make their own way; as a community of interest in an exploitative environment, etc. Art, humor, and creative tactics can create a receptive atmosphere organizing and leadership development.

Telling untold (or miss-told) stories that can suggest avenues for action. Even when figures or events from social struggles are integrated into mainstream teaching they are presented in ways that emphasize individual heroics and chance. Our classroom posters focus on the collective action, planning, and community connection that offer a more reliable roadmap for creating change. By our choices of what stories to depict we help to challenge widely held notions about who is an actor in history.

Posterfolio sets help to bring more depth of knowledge (and curiosity) about events that people may know of only superficially. Posters that challenge deeply held assumptions. Less immediate in their impact, these may illustrate word definitions or the histories of everyday items, foods, etc. Seemingly innocuous, these posters contain layers of social history and suggest connections to other peoples that are absent from mainstream and commercial culture.

Making use of history as a lever for real change requires strategies for its dissemination. Our approach has been to use our relationships with schoolteachers, unions, and community organizations to distribute the work that we produce. These networks are also the source for information on the needs of the people at the front. Organizing seeds have a hard time growing in hostile soil. Tending to the cultural soil of the workplace, community, and broader society is a long-term and essential element in any strategy for change.”

From AP, August 26, 2002:

Florida police cars to sport corporate logos

“SPRINGFIELD, Fla. — This Florida Panhandle town is getting new police cars for only $1 each, but there’s a catch. The cars will be festooned with corporate sponsorship logos similar to those on race cars.

City commissioners voted 4-0 Thursday to accept the deal with Charlotte, N.C.-based Government Acquisitions. The company hopes to provide a new squad car for each of Springfield’s 15 officers within the next three years.

Government Acquisitions partner Ken Allison said advertising on cruisers destined for the Panama City suburb would be toned down.

Police Chief Sam Slay said the city could save about $500,000 over the three-year span.

‘You are talking about $500,000 that can be spent other places in the city, and that’s what this program is for,’ said Mayor Robert Walker.

Slay wants the savings used to hire two more officers, but Commissioner Carl Curti said other departments may need the money. Slay said his department should get to keep use the money instead of being punished for saving it.

Curti also was apprehensive about using the police car budget for other purposes.

‘These free cars may not always be free cars,’ Curti said.”

via American Samizdat

In an article for Wired News on activists using of video and imaging, Julia Scheeres notes:

“Around the globe, indigenous tribes are mapping their ancestral land boundaries using global satellite positioning systems to guard against depredations by local governments and private companies.”

The article points to the Aboriginal Mapping Network:

“A collection of resource pages for First Nation mappers who are looking for answers to common questions regarding mapping, information management and GIS. It is a network where First Nation mappers can learn about what other native mappers are doing, and share their own experiences throughout the aboriginal community. The AMN has a British Columbia focus, but is not limited to this geographic region. It is intended to be used by any group who is active in aboriginal mapping, from the introductory level, to the advanced. It is a source for both technical information on GIS mapping, to general information relevant to decision makers.”

The main areas of activity are:

• The Web site and electronic newsletter with information on data sources, training resources, funding, and news.
• Publication of resources and “best practices.”
• Informal roundtable workshops and the annual international GIS conference where First Nations organize and present mapping issues on First Nations terms.

The site’s extensive gallery hosts maps illustrating traditional territories, current boundaries, boundary disputes, traditional place names, environmental classifications, and cultural and ethnographic data — including some from pre-contact eras. Some good links, too, pointing to other sites with maps and mapping resources by and for Aboriginal peoples.

In June, the International Forum on Globalization’s Indigenous Peoples and Globalization program published a map depicting the negative impacts of economic globalization on indigenous peoples.

For another overview of the AMN, see Benjamin David Johnson’s 1999 thesis, The Aboriginal Mapping Network: A Case Study In The Democratization of Mapping:

“Critical mapping theory suggests that maps are subjective documents that implicitly but powerfully articulate the agenda of the culture that created them... Further, the interests portrayed on conventional maps are almost exclusively those of the dominant groups in society. It will be argued in this thesis that the Aboriginal Mapping Network provides a means to develop mapping skills in First Nations communities, therefore leading to the creation of maps that convey alternative visions of reality. These maps can be used in the planning process to counterbalance what John Forester (1989) would suggest is the ‘misinformation’ inherent in conventional maps....

Capacity building in GIS technology, it is argued, will allow First Nations to produce unconventional maps that articulate local worldviews and perceptions of place. As embodiments of local knowledge, these maps will in turn be used in planning, negotiations and governance to empower First Nations on their own terms.”

From Adrian Blackwell and Kanishka Goonewardena, Poverty of Planning: Tent City, City Hall and Toronto’s New Official Plan, in Planners Network, Winter 2003:

“While the [new official plan of the city of Toronto] represents a victory for the ruling classes of Toronto... some of the background documents prepared for the plan reveal traces of a struggle, even within City Hall. Toronto at the Crossroads, for example, includes a crystal clear map of the concentrations of ‘socially vulnerable areas’ in the city. It illustrates the growing economic polarization and pockets of poverty that form a ring running through the outer suburbs and around the inner city. Any reasonable official plan aiming to build a sustainable and equitable urban life would have started with these realities — the majority of existing people in the city — rather than banking on an exodus of dot.com millionaires and other pipe dreams of the ‘knowledge economy.’

The urgent question is this: What will happen to the various socially vulnerable groups in the city whose neighborhoods are either ignored in this plan or earmarked for gentrification?

The plan actually paves the way to remove people from strategic downtown neighborhoods, concentrating poverty in high-density suburban spaces whose reality is deliberately hidden in its three-lens vision. Complementing this violence of eviction is the alienating physical and symbolic violence constantly inflicted on individuals forced to live in these suburban spaces. These have a number of real effects.

• The physical distance between social classes protects affluent people from the violent power and frustration that economic exploitation creates.
  
  
• The physical separation prevents middle- and upper-class Torontonians from experiencing poverty firsthand, allowing them to indulge a fantasy of equality, while breeding stereotypes about people they don’t have to interact with everyday.
  
  
• Separation organizes the city so that affluent people have much better access to not only luxury goods, but also to essential services like healthy food, a clean environment, healthcare, public transportation, parks, public spaces and jobs.
  
  
• Isolation atomizes the very communities that could otherwise create unified resistance to this alienating condition. One of the lasting legacies of Toronto’s high-density modernist housing is that people are both concentrated and isolated from one another at the same time.

Real separation and isolation are symbolically overcome in the image of the beautiful city. The objective of urban design here is to mask beneath the spectacle of dazzling urban space the potentially explosive realities of the new amalgamated city of developers, taxpayers and global capital.”

The authors are members of Planning Action:

“A group of urban planners, architects and activists who work with diverse communities of Toronto struggling against economic, cultural, and ecological injustice to open spaces for people to imagine, transform, and enjoy the city.”

Their objectives:

• To collaboratively promote social and environmental justice by planning for affordable housing, food, public transportation, public space and accessible education and recreation for all residents and workers of the city.
• To democratize planning practice to foster greater participation and control over the creation and maintenance of the city.
• To build an organization that is committed to radically democratic and socially just practices within its own operation, in its partnerships and collaborations, as well as in the city.

Their work includes:

• popular education and outreach;
• planning, design, and advocacy for individuals and communities marginalized from traditional planning and legal systems;
• promotion of participatory planning that creates alternatives to municipal, competitive, and corporate-driven planning practices; and
• public comment and criticism of development projects, international trade agreements, and city practices, plans, policy, and processes.

Myriad Editions specializes in one type of book: thematic atlases on economic, political, and social trends. The State of the World thematic atlases are full of maps, tables, cartograms, and other infographics that make global issues accessible at a glance.

The first State of The World Atlas was published in 1981 by Pluto Press. It was co-edited by Ronald Segal and Michael Kidron, until his death in March 2003. The book can be seen as part of his attempt to understand and write about capitalism on a global scale. The War Atlas followed in 1983.

Myriad’s list of titles includes:

• The State of the World Atlas (now in its 7th edition)
• The Atlas of War and Peace
• Atlas of Women in the World
• The State of Religion Atlas
• The State of the Environment Atlas
• The Atlas of Endangered Species
• The Atlas of Food
• The State of Health Atlas
• The Atlas of Human Sexual Behavior
• The Tobacco Atlas
• The Penguin Atlas of Media and Information
• and The Atlas of the Future

Individual countries atlases have been published on China, the USA, Germany, and France.

Coming soon: The Water Atlas and Atlas of the Middle East.

See some sample maps and their project for UNICEF illustrating the state of the world’s children.

They’ve done a couple of interactive, online maps for other organizations, too.

From Democracy and Its Global Roots, by Amartya Sen:

“In the subject of public discussion and communication, it is also important to note that nearly every attempt at early printing in China, Korea, and Japan was undertaken by Buddhist technologists, with an interest in expanding communication. The first printed book in the world was a Chinese translation of an Indian Sanskrit treatise, later known as the ‘Diamond Sutra,’ done by a half-Indian and half-Turkish scholar called Kumarajeeva in the fifth century, which was printed in China four and half centuries later, in 868 C.E. The development of printing, largely driven by a commitment to propagate Buddhist perspectives (including compassion and benevolence), transformed the possibilities of public communication in general. Initially sought as a medium for spreading the Buddhist message, the innovation of printing was a momentous development in public communication that greatly expanded the opportunity of social deliberation.

The commitment of Buddhist scholars to expand communication in secular as well as religious subjects has considerable relevance for the global roots of democracy. Sometimes the communication took the form of a rebellious disagreement. Indeed, in the seventh century Fu-yi, a Confucian leader of an anti-Buddhist campaign, submitted the following complaint about Buddhists to the Tang emperor (almost paralleling the current official ire about the ‘indiscipline’ of the Falun Gong): ‘Buddhism infiltrated into China from Central Asia, under a strange and barbarous form, and as such, it was then less dangerous. But since the Han period the Indian texts began to be translated into Chinese. Their publicity began to adversely affect the faith of the Princes and filial piety began to degenerate. The people began to shave their heads and refused to bow their heads to the Princes and their ancestors.’ In other cases, the dialectics took the form of learning from each other. In fact, in the extensive scientific, mathematical, and literary exchanges between China and India during the first millennium C.E., Buddhist scholars played a major part.”

Accordingly, the ‘Diamond Sutra’ scroll was dedicated to the public domain. From The Invention of Printing in China, by Thomas Carter, 1955:

“The book consists of six sheets of text and one shorter sheet with woodcut, all neatly pasted together so as to form one continuous roll sixteen feet long... At the end, printed into the text, is the statement that the book was ‘reverently made for universal free distribution by Wang Chieh on behalf of his two parents on the 15th of the 4th moon of the 9th year of Hsien-t’ung.’”

via Three-Toed Sloth and Lawrence Lessig