What is iconic today? (Part 2)

There are few moments in life where a simple but profound statement can define our thinking forever. It happened to me during a lecture I once attended on the recondite subject of financing models for cultural initiatives, when the speaker said: 

"... the value of art is in conversation ..."

Perhaps it is a simplistic view but I have often engaged in discussions with friends about what makes a painting, a photo, a musical composition, a building or an interior be associated with Art. All too often our exchanges hover around issues of taste or currents or social structures or historical context, or just plain old "educated art criticism".

However simple, the notion that art has value when it animates human communication resonated with me. I don't think art is about taste or fashion, or even schools of thought. Artistic creations that have value are the ones that are able to generate sophisticated exchanges of thoughts and ideas, that make us question assumptions and preconceived notions. 

Real art generates timeless interest because it provides an answer to many questions, and sometimes many answers to the same question.

In my last blog post, I discussed the over-use of the word "iconic" to describe  aspirations of very diverse examples of contemporary design. Too many times we see “iconic” mistaken for authenticity, for picturesque or for elegance. People tend to confuse the meaning of iconic traits with memes, or with pastiches and replications of what was once original and modern.

On some level, I think that it is partially the result of a declining importance of cultural studies, and it is also the result of the loss of the richness of language in the abbreviations and zingers popular in the modern ways of communication. But it is also because we aren't always as demanding as we should be in the recognition of artistic creations.

Not all experimentation is Art, in the same way that not all writing is literature. Art, as well as Design, must question assumptions, generate dialogue, provoke thoughts and leave us wanting to explore it further. And in the case of Design, if those concepts can translate into reality and they transcend the thinking of their time, then we can start thinking about  calling them "iconic", and most of all start thinking about calling them Art.

I find many examples today of artists that have been pushing the boundaries of their time, creatively as well as scientifically. These are some of those that I believe have been enriching our conversations:


Zaha Hadid

Zaha Hadid creates buildings and spaces that define the transition of architecture to the 21st century, but she also creates important moments in cityscapes that are identifiable and push the boundaries of the built environment. She innovates with shapes around building functions and explores materials and aesthetics with elegance and originality. And not only her buildings, but her drawings are Art, and they generate their own conversation.

Architectural art by Zaha Hadid

Christo & Jeanne-Claude

Jeanne-Claude & Christo (Sydney Morning Herald - 14/12/2007)

My first exposure to Christo's work was with his Pont-Neuf project in 1985. I was in Paris on a school holiday walking around near Ile-de-la-Cite and did not understand at first why the bridge was wrapped. It looked like it was under construction by the cleanest and most careful builders. The loud arguing I could hear was not surprising in France, but it was only when I realized that people were arguing about the wrapping, and whether it was art or not, that it struck me how fabulous the idea was and how it created spontaneous dialogue between strangers about their involvement in an artistic experiment.

The Pont Neuf Wrapped, Paris, 1975-85, by Wolfgang Volz

When I got back home I researched the artist, in the old fashioned library-kind-of-way. I learned how his projects focused on the conversation that can be generated about the things that surround us and that can be viewed in a different way. A few years later I became good friends with someone who knew Christo personally and had spent time with him during the Reichstag project. It was wonderful to hear first-hand what his process was and the thoughts he expressed were while working over the scale models. In 2005, on a cold February morning, I experienced the Gates in Central Park, with sheer luck that a business trip coincided with the event. Christo & Jeanne-Claude are true icons of contemporary art, and their creations will last though imagery and oral tradition. I for one will continue talking about their work.

The Gates, Central Park, NY, 1979-2005 Photo: Wolfgang Volz

©2005 Christo and Jeanne-Claude

Dianne von Furstenberg

If there is one artistic discipline that intersects with interior design in ways that prove mutually inspiring, that's fashion. Wherever designers explore colors, patterns and textures, we learn from their experiences. DVF has always had a particular appeal to me, and she is quite unique in her style. I think bold statements with pattern are difficult to achieve in a tasteful way but she rarely misses the mark on elegance and sophistication, whether it is one of her signature wrap dresses or a long gown. I think she is a true definer of the taste of her time. Oh, and my wife has never looked so beautiful as in one of her black and white color-blocked dresses...

What is iconic today? (Part 1)

I so often read features in magazines about real estate developments where the owners, designers or brand gurus talk about how they pursued the inclusion of "iconic" elements ... It is surprising that even when the resulting buildings are no more distinctive than most others, they still insist on the use of the word "iconic" as a differentiation factor. It seems to be used as a descriptor for features that were desired qualities in the program, and much like the emperor's new clothes can be used to brand anything that is new regardless of its quality.

I recently discussed the notion of iconicity in architecture and interior design with a senior partner at an internationally renowned design practice. I refused to accept that iconicity can be achieved purely as a programmatic goal. Instead, I feel that we should use it cautiously to describe examples of great design, old and new, lest we loose the ability to describe really great design when it happens. My own idea of great design is defined by buildings that respect the social, historical and urban context, and can still achieve originality and innovation in their answer to the built environment. And if they have artistic qualities that distinguish them, then they can aspire to become "iconic" and be regarded as symbols of their time.

Very quickly in our conversation, we realized we were trying to answer the wrong question and we both came to agree that the problem is not the fact that people tend to overuse the "iconic" moniker in branding their developments. It is instead the fact that the energy spent in branding buildings has somewhat taken over the act of design itself.

I do not deny that branding is key to ensure competitiveness and to enable the deals required to finance real estate ventures - especially in urban environments - but do we really need to seek the same stereotyped lifestyle ideals over and over again to inspire good design?

There are very focused and experienced developers out there that are able to offer vision and guidance to their consultants and understand that sensible and thoughtful steering is the way to achieve a successful project. And if the project results in the right building for its context, its function and that attains the objectives required by the financing model, then branding becomes a natural extension of the creative process. When this happens, describing architecture or interior design can use a much richer variety of adjectives, and iconicity can return to the higher pedestal where it deservedly belongs.

In my next post I'll explore contemporary examples of "iconic" spaces, but we can start by looking at creations that defined moments in architectural history, and that still inspire today's designers. Perhaps these are the true iconic traits: they became symbols of their time, they overcame criticism and appear to have provided the right answer to their context.


The Colosseum (Rome, Italy - 72-80 AD) 

www.about.com

Soane Museum (London, UK)
Sir John Soane (1753-1837) was a neo-classical visionary who explored materials and light in ways that were so unique for his time.

Wiener Secessionsgebaude (Vienna, Austria - 1897)

The Secession Building by Joseph Maria Olbrich was a rupture with the past, while retaining the appeal of crafts and traditional arts. The motto: "To every age its art, to art its freedom."

Barcelona Pavillion (Barcelona, Spain - 1929)

Ludwig Mies van der Rohe created elegance in his modern functionalism.

David Hicks (1929-1998)

David Hicks' interiors are still inspiring today's designers, and have re-surfaced with the interest in the Mad Men-like retro-style.

The essence of privacy: designing for individual needs

Not long ago privacy was a concept that related essentially to the physical world. All human beings need time to be with themselves: to rest, to reflect, to pray, to prepare mentally for the outside world or just to enjoy quality time in small groups. Finding a place to be alone or to enjoy privacy was not difficult. 

Then, in a short period of time our lives were taken over by an ever-growing dependency on the digital realm and rather than relating to the fulfillment of individual needs, privacy became instead a way to quantify the amount of personal information that we share with others, willingly or not.

If privacy is less and less a physical experience, how do we frame the need for privacy in todays built environment? Our homes are places where we can still affect some degree of control over what we share about ourselves, but how can we achieve it in the public environment: in the workplace, in leisure areas, in hotels or in cultural venues?

In his inspirational book "The Poetics of Space", french philosopher Gaston Bachelard wrote:

 "... the house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace."

The complaint about lack of privacy is not a real one as most people knowingly accept some interference with their personal lives in order to benefit from the enhanced reality provided by our permanent sharing. I believe it is the ability to find some sort of personal space to be oneself without the involvement of others that can provide us with a sense of privacy. Even if we remain connected, we need to be in control of our environment. Privacy is probably shifting from the "alone-together" idea that used to be common in libraries, museums and churches, and moving towards a "together-alone" behavior where we can selectively connect to the wider community in some form of seclusion.

I wonder if the growing appeal of calm and serene wellness destinations does not come from this inner desire to be in a bubble where the outside world is kept somewhat at bay. It is not unusual to see people in spa relaxation areas with their smartphones or tablets. They might be enjoying leisure activities but also replying to a work email - but they still feel relaxed because there, they feel protected.

I used to think that being in an airplane provided me with a distance from the real world and for a few hours I was in privacy, even if the passenger next to me was clearly inside the most personal area of my proximity sphere, where usually no-one besides my family can stay for such a long period of time. But now we can connect to the world from the plane, and although I try to resist it, there is a sense of guilt in insisting to have those few hours all for myself.

So how do we address the design of public spaces to ensure that we create the "new privacy" that people seek?

The ability to personalize interiors is the bridge that separates public and domestic spaces, but as urban dwellers become more transient, empowered by the tools that have fostered globalization that allow them to be in multiple locations simultaneously, the challenges to the design of public spaces include trying to create those dreaming and reflecting places without interfering with the every-day life.

In "The Architecture of Happiness", Alain de Botton shares sensitive insights into the nature of human needs that we should keep in mind:

"What we seek, at the deepest level, is inwardly to resemble, rather than physically to possess, the objects and places that touch us through their beauty."

I take this to mean that if we can create a sense of identity between people and the spaces they inhabit, then we can trigger a positive connection. So much of what we call "connection" these days is so short-lived and superficial, that if we use the permanence of architecture as something that people can experience, then we touch them at a deeper level and imprint more memorable experiences. And if people experience that physical connection then we can start exploring new forms of privacy.

Relating this issue to the design of hotels is my immediate reaction as those are the spaces I deal with professionally, but I am interested in the public sphere in general. I always learn from watching how people behave in public and I've researched recent projects in the cultural field to make some sense of this important driver of design.

Charles E. Young Research Library

In the Fall/Winter issue of IIDA Perspective Magazine, UCLA Deputy Librarian Dr. Susan Parker leads an interesting tour of the recently renovated, high-tech and socially mediated facility, where physical books as well as technology and privacy held equally important places in the brief to designers Perkins+Will and Eva Maddox Branded Environments.

Perspective IIDA - Fall/Winter 2012 (pg. 14) 

I invite you to discover how relevant some of the aspects of this library's design are for wider thought about public spaces, but a particular comment stayed with me:

"We have a progression of spaces within the library, inviting people to explore and find areas that are relevant to them. That echoes the metaphor of discovery - of knowledge - that happens in the library."

It is so important to create the possibilities of self-discovery, as those will provide people with a sense of individuality, with the ability to customize their environment around their behavior, and ultimately enable that elusive sense of privacy. 

East Hotel - Hong Kong

Just recently I stayed a few days at East in Hong-Kong. East is part of Swire Hotels, owners of  The Upper House, which in a past blog post I elected as one of the game-changers in the hospitality market ("Hotels of the future: will they be comfortable?").

Entrance (from: SassyHongKong.com)

East is a wonderful example of a hotel where all spaces are able to retain the ability to treat each guest in an entirely personal way, where travelers that are focused on the reason for their trip can feel as if there is a little bit of home there, and still enjoy communal  areas in a very relaxed way. As I said before, most people have accepted to live with smaller intimacy spheres around them, so the answer to creating some privacy possibly comes from having a variety of contiguous spaces to satisfy different needs. It could be the ability to jump into a private call by moving away from the louder areas into small acoustically appropriate compartments and a diversity of seating layouts that can accommodate both formal and informal gatherings in the same space, allow for work, relax, alone or together.

Sugar Bar (from: swirehotels.com)

And in the guestroom, then more freedom is permitted to provide that variety, sometimes with a bit of gimmicks and otherwise just by providing natural and serene comfort with the focus on the bed, the lighting, the shower and in this case ... the view!

Suite (from: swirehotels.com)

Interactive, Integrated and Inter-operable: 3 ideas for hotel design

A few weeks ago in this blog I asked "When will technology really disrupt the hotel business?". 

As I observe how hoteliers are exploring the possibilities of evolving the paradigm in which hotel operations are based, I have identified 3 key elements that are needed to implement successfully any technological advance: solutions must be interactive, integrated and inter-operable.

This means that technology must:

• enhance the experience through an enticing connection between the guest and the physical space
• be perceived as a seamless part of the guest experience, and not just a layer applied on the conventional operation
• it must increasingly permit information exchange with the guest's own personal devices

The market is full of examples of technological upgrades, but I've recently come across a few experimental and conceptual ideas that push the envelope and that I believe will leverage further the hospitality user experience when they are ready to be applied in commercial spaces.

The Nest Thermostat

Nest Thermostat

The Nest Thermostat is an ingenious invention developed by Tony Fadell, an Apple alumni who had a key role in the Ipod creation.

This device re-invents our relationship with the appliances that control human comfort, in this case thermal comfort. It has an innovative capability to learn the user patterns in order to create optimal living conditions, as well as to provide energy savings.

What I find particularly interesting is a design that embeds artificial intelligence so discreetly in the product's DNA, and that permits a innovative interaction with the user.

Adaptive environments that learn how to adjust the conditions of a living space to its occupants will be a quantum leap from our existing systems. And Nest might be about temperature only, but once this concept expands it can be applied to all sort of adjustments in moisture content, barometric pressure, air velocity, acoustic issues, and then even further to manage visual comfort through daylighting and artificial lighting controls, eventually media content, and who knows maybe even physical comfort through fine adjustments in upholstery firmness.

It is truly a new product, and I envision a time when people can carry their own "comfort intelligence" in digital form, and then transfer that information in advance to the room where they will be staying. We will then be able to have a hotel guestroom, or an office space which customizes its properties to accommodate each unique user's needs.

The customization of spaces will be further enhanced with evolved TVs which will allow us to "launch" our tablet customization on the screen just by placing them on the side and swiping them in the direction of the TV. At this point all our own media (music, video, whatever entertainment apps) will immediately become available in the room. Portable comfort, and portable media-impact devices will meet the interactive, integrated and inter-operable requirements.

SLEEP ART: A robot that paints your sleep

Accor's Ibis brand is testing an original interactive experience, with a robotic arm linked to sensors placed on bed mattresses, which transfer sleeping patterns onto a canvas. I find it to be such a daring use of technology! And it provides a novel connection of guests to the hotel in ways that we can only begin to imagine.

Whether the result is true art or not isn't really the issue (watch the video and decide for yourself), but this use of technology pushes the boundaries of human interaction with technology, and integrates it not only in the physical space, but also creates a very unique form of engagement with the hospitality product. And the enrollment via Facebook provides an additional layer of positive entanglement with the brand.

For the cynics and pessimists, you can have the consolation that even if this experiment doesn't really catch on, it will for sure have taught hoteliers and designers where some of the boundaries are.

Immersive Cocoon / Step into the Future

This is a highly conceptual product developed by design collective NAU. More than a product, this object reminiscent of Kubrick's monolith, is an interface. The concept is that the space enclosed within the sphere can provide infinite digital freedom where the entire body interacts with sensors to re-create reality. It is a unique sensory experience inside a very controlled environment, in a way that until now was the object of science fiction. 

This concept contradicts in some ways the basic notions of integration and inter-operability, because it is a device so independent from reality, but I was drawn to the idea that an interface might not need to be a screen and it can be anywhere we want it to be.

Where I see the disruptive potential is not necessarily from the product in its pure form, but the ability to expand the notion of interaction and apply it to real spaces to improve living environments and comfort.

I am thinking for instance of a smart wardrobe where the mirror can allow the user to "virtually" try the clothes before getting dressed .... or falling asleep with the kind of warm summer breeze that makes it so easy to drift away at the beach ....

So these 3 examples of innovative creativity in product design point to a direction where we can carry our own comfort as a digital signature, we can interact physically with spaces, and we can extract elements of virtual experiences to increase the quality of living spaces.

And the more we talk about the possibilities, the more we realize that these inventions will intersect and trigger exponentially increasing options to re-design the hotel experience: the room sensors can detect what the user's exact mood and feeling is, and by using the "learned intelligence" adjust the comfort conditions and transform the perception of the room ambiance and decor to suit the guest.

Creative and talented inventors are providing us with the tools we need. Now it is up to hoteliers, designers and entrepreneurs to put them to use, disrupt the market and impress their guests.

When will technology really disrupt the hotel business?

A few weeks ago, I wrote about hotels of the future, which expressed essentially thoughts about comfort. Another aspect of the evolution of hotels is connected to technology and how it has become key to brand strategy differentiation. Technology is a catalyst for increased building efficiency and it is becoming a key element of disruptive market strategies by hotel owners,operators and the designers that support their vision.

The recession limited the comprehensive modernization of hotel systems, but it also coincided with an incredible growth in interactive technology, and particularly its ability to impact the guest experience.

As renovation budgets become more robust and new construction accelerates, we’ll increasingly see the deployment of integrated systems that improve hotel performance and also enhance the guest experience. A few successful examples of hotel concepts that are already pushing the envelope are YOTEL and CITIZEN M.

Yotel in New York is the most recent outpost of the brand:

Yotel New York - Entrance 

Yotel New York - Lobby

Yotel New York - Typical Guestroom

And Citizen M opened the first of three London hotels in July 2012:

Citizen M (website)

Citizen M London - Typical Guestroom

Citizen M London - Guestroom Control tablet

The focus of end-user technology varies across market segments:

• Upper-upscale and luxury hotels have had a greater ability to add high-end technology to enhance the entire experience from concierge services to entertainment.
• The upscale segment, and in particular business oriented hotels, have deployed technology to improve check-in, to achieve some customization of guest relationship, to offer advanced meeting space functionality and to provide some in-room amenities.
• The economy to mid-scale segments have focused more on the implementation of building management systems looking at cost control and operational sustainability, with a more incremental use of technology in public spaces and in-room technology.

We are starting to see state-of-the-art technology in all hotels, from tablets to 3D TV, from digital art to smart keys. But when will we begin to see a truly integrated approach to technology deployment?

The reality is that the conventional operation model has not changed much, and the use of technology in hotels is essentially a layer applied on top of the traditional services, and issues affecting equipment reliability and inter-operability have discouraged owners and guests alike about the validity of turning technology as ubiquitous in hotels as it is in homes and offices.

I believe that this will only come through a re-concepting that merges the hotel operation, the asset management and the guest experience through solutions that address simultaneously service, comfort, entertainment and amenities.

A more seamless hotel experience is one that will bring together the human, physical, personal needs of the guest and the capabilities permitted by technological innovations.

I am sure that behind retina-scan access doors at the HQ of large hotel companies there are very smart people wielding state-of-the-art tablets and thinking about what the hotel of the future will be.

I wonder if these are the questions they are trying to answer:

• Can a hotel become an intuitive experience that anticipates the guest’s needs within a very efficient operation?

• Can we make a hotel react to the guest?

• Can a hotel ever become an extension of the guest’s own personal environment?

Right now, there is an opportunity for hotel owners, operators and designers to re-think radically the role of technology and how it can catalyze a deeper integration of interactive capabilities in the hotel physical space.

Who will take us on this journey first?