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startupquote:

Optimism, pessimism, f**k that; we’re going to make it happen. As God is my bloody witness, I’m hell-bent on making it work.
- Elon Musk

startupquote:

Optimism, pessimism, f**k that; we’re going to make it happen. As God is my bloody witness, I’m hell-bent on making it work.

- Elon Musk

20 Most Expensive Cities to Rent and Buy Property

20 Most Expensive Cities to Rent and Buy Property

startupquote:

People don’t buy what you do; they buy why you do it. And what you do simply proves what you believe.
- Simon Sinek

startupquote:

People don’t buy what you do; they buy why you do it. And what you do simply proves what you believe.

- Simon Sinek

Too often we rely on the adage, ‘If it ain’t broke, don’t fix it,’ but those words lead to what I call the ‘law of suckage,’ which means by the time you figure out you suck, you’ve sucked for a very long time.
The ‘dime houses’ from 1870 were one of the first social housing projects in the Netherlands. They are the result of a group of idealistic workers who, by asking a dime a week for membership, founded in 1868 the Building Society for Home Ownership (BVEW).
The little houses are situated perpendicular to the busy Mauritskade and were hidden behind a blank wall. To give the passersby a sense of the intimacy of this small dead-end street and to make them curious to the particular history of the dime houses, artist Marjet Wessels Boer transformed the blank wall into a magnified brick type case.
Originally a type case was used by a typesetter to store type. In this way, the work refers to the newspaper that the BVEW released to raise members for BVEW. In more recent times a type case is primarily used as a display case in which souvenirs and objets trouvés are proudly shown.
Wessels Boer also uses the type case as a display case. She collected personal and historical stories of the dime houses and translated them into aluminium silhouettes. The objects engraved with house numbers are proposed by current inhabitants. The result is a motley collection of objects, from carpet beater to elephant. Together the silhouettes outline the history of a unique place in Amsterdam. The stories behind each object can be found at www.dubbeltjespanden.nl
This work is supported by the AFK (Amsterdam Fund for the Arts).

The ‘dime houses’ from 1870 were one of the first social housing projects in the Netherlands. They are the result of a group of idealistic workers who, by asking a dime a week for membership, founded in 1868 the Building Society for Home Ownership (BVEW).

The little houses are situated perpendicular to the busy Mauritskade and were hidden behind a blank wall. To give the passersby a sense of the intimacy of this small dead-end street and to make them curious to the particular history of the dime houses, artist Marjet Wessels Boer transformed the blank wall into a magnified brick type case.

Originally a type case was used by a typesetter to store type. In this way, the work refers to the newspaper that the BVEW released to raise members for BVEW. In more recent times a type case is primarily used as a display case in which souvenirs and objets trouvés are proudly shown.

Wessels Boer also uses the type case as a display case. She collected personal and historical stories of the dime houses and translated them into aluminium silhouettes. The objects engraved with house numbers are proposed by current inhabitants. The result is a motley collection of objects, from carpet beater to elephant. Together the silhouettes outline the history of a unique place in Amsterdam. The stories behind each object can be found at www.dubbeltjespanden.nl

This work is supported by the AFK (Amsterdam Fund for the Arts).

(Source: studiowesselsboer.nl)

Art of Pi by Martin Krzywinski, narrated by Numberphile

(Source: Gizmodo)

Eminent Domaines - 432 Park Avenue

Sports Hall St. Martin by Dietger Wissounig Architekten in Villach, Austria

Sports Hall St. Martin by Dietger Wissounig Architekten in Villach, Austria

(Source: archdaily.com)

Residential tower in Holon, Israel.

(Source: archdaily.com)

900 SF West Village Loft by LOT-EK

900 SF West Village Loft by LOT-EK

(Source: llnyc.com)

Flexibility

From our previous posting on mobility, I asserted that “open communication and collaboration is the new norm as teams move and morph around the idea.”  This produces an important development in office design and gives new meaning to the often cliche term of flexibility in the workplace.

When we say “flexibility” in the workplace, we often think of an open floor filled with modular furniture (desks, cabinets, chairs), with some static areas, like pantries, conference rooms, and executive offices.  The modular furniture is suppose to be interchangeable and movable while offering aesthetic uniformity.

If you’ve ever worked at a corporate office, we all know “flexible furniture” is never flexible.  Desk configurations stay the same, and it’s the people and their accumulated things that move.  Assembling a new project team? Move the necessary people to the same corner for a few months.  It’s perennial relocation like refugees because it always sucks to be displaced and separated from the former team and community. 

The Nomad versus The Refugee.

I argue that mobility re-imagines the workplace as a pasture of ideas.  The individual becomes the nomad as he or she moves and congregates around idea to idea.  Space is morphing as organically as the idea.  We will finally challenge true flexibility in the workplace when the new working nomads seek places that encourage seamless cross-pollination of ideas, or find inspirations from incidental intersections between diverse activities.

As architecture searches for the new “creative space,” the new nomads will undoubtedly wonder how mobility and flexibility will change their relationship with the company?  Will personality now emerge into building blocks of a company over brand identity of an organization?

In the next post, we will explore why I feel the individual personality will come to overturn corporate identity and the workplace architecture.  

Alfred Huang is a co-founder and principal architect of Massforma Architecture, specializing in smart design for homes and small businesses.

startupquote:

Optimism, pessimism, f**k that; we’re going to make it happen. As God is my bloody witness, I’m hell-bent on making it work.
- Elon Musk

startupquote:

Optimism, pessimism, f**k that; we’re going to make it happen. As God is my bloody witness, I’m hell-bent on making it work.

- Elon Musk

20 Most Expensive Cities to Rent and Buy Property

20 Most Expensive Cities to Rent and Buy Property

startupquote:

People don’t buy what you do; they buy why you do it. And what you do simply proves what you believe.
- Simon Sinek

startupquote:

People don’t buy what you do; they buy why you do it. And what you do simply proves what you believe.

- Simon Sinek

Too often we rely on the adage, ‘If it ain’t broke, don’t fix it,’ but those words lead to what I call the ‘law of suckage,’ which means by the time you figure out you suck, you’ve sucked for a very long time.
The ‘dime houses’ from 1870 were one of the first social housing projects in the Netherlands. They are the result of a group of idealistic workers who, by asking a dime a week for membership, founded in 1868 the Building Society for Home Ownership (BVEW).
The little houses are situated perpendicular to the busy Mauritskade and were hidden behind a blank wall. To give the passersby a sense of the intimacy of this small dead-end street and to make them curious to the particular history of the dime houses, artist Marjet Wessels Boer transformed the blank wall into a magnified brick type case.
Originally a type case was used by a typesetter to store type. In this way, the work refers to the newspaper that the BVEW released to raise members for BVEW. In more recent times a type case is primarily used as a display case in which souvenirs and objets trouvés are proudly shown.
Wessels Boer also uses the type case as a display case. She collected personal and historical stories of the dime houses and translated them into aluminium silhouettes. The objects engraved with house numbers are proposed by current inhabitants. The result is a motley collection of objects, from carpet beater to elephant. Together the silhouettes outline the history of a unique place in Amsterdam. The stories behind each object can be found at www.dubbeltjespanden.nl
This work is supported by the AFK (Amsterdam Fund for the Arts).

The ‘dime houses’ from 1870 were one of the first social housing projects in the Netherlands. They are the result of a group of idealistic workers who, by asking a dime a week for membership, founded in 1868 the Building Society for Home Ownership (BVEW).

The little houses are situated perpendicular to the busy Mauritskade and were hidden behind a blank wall. To give the passersby a sense of the intimacy of this small dead-end street and to make them curious to the particular history of the dime houses, artist Marjet Wessels Boer transformed the blank wall into a magnified brick type case.

Originally a type case was used by a typesetter to store type. In this way, the work refers to the newspaper that the BVEW released to raise members for BVEW. In more recent times a type case is primarily used as a display case in which souvenirs and objets trouvés are proudly shown.

Wessels Boer also uses the type case as a display case. She collected personal and historical stories of the dime houses and translated them into aluminium silhouettes. The objects engraved with house numbers are proposed by current inhabitants. The result is a motley collection of objects, from carpet beater to elephant. Together the silhouettes outline the history of a unique place in Amsterdam. The stories behind each object can be found at www.dubbeltjespanden.nl

This work is supported by the AFK (Amsterdam Fund for the Arts).

(Source: studiowesselsboer.nl)

(Source: bradleybim.com)

Art of Pi by Martin Krzywinski, narrated by Numberphile

(Source: Gizmodo)

Eminent Domaines - 432 Park Avenue

Sports Hall St. Martin by Dietger Wissounig Architekten in Villach, Austria

Sports Hall St. Martin by Dietger Wissounig Architekten in Villach, Austria

(Source: archdaily.com)

Residential tower in Holon, Israel.

(Source: archdaily.com)

900 SF West Village Loft by LOT-EK

900 SF West Village Loft by LOT-EK

(Source: llnyc.com)

Flexibility

From our previous posting on mobility, I asserted that “open communication and collaboration is the new norm as teams move and morph around the idea.”  This produces an important development in office design and gives new meaning to the often cliche term of flexibility in the workplace.

When we say “flexibility” in the workplace, we often think of an open floor filled with modular furniture (desks, cabinets, chairs), with some static areas, like pantries, conference rooms, and executive offices.  The modular furniture is suppose to be interchangeable and movable while offering aesthetic uniformity.

If you’ve ever worked at a corporate office, we all know “flexible furniture” is never flexible.  Desk configurations stay the same, and it’s the people and their accumulated things that move.  Assembling a new project team? Move the necessary people to the same corner for a few months.  It’s perennial relocation like refugees because it always sucks to be displaced and separated from the former team and community. 

The Nomad versus The Refugee.

I argue that mobility re-imagines the workplace as a pasture of ideas.  The individual becomes the nomad as he or she moves and congregates around idea to idea.  Space is morphing as organically as the idea.  We will finally challenge true flexibility in the workplace when the new working nomads seek places that encourage seamless cross-pollination of ideas, or find inspirations from incidental intersections between diverse activities.

As architecture searches for the new “creative space,” the new nomads will undoubtedly wonder how mobility and flexibility will change their relationship with the company?  Will personality now emerge into building blocks of a company over brand identity of an organization?

In the next post, we will explore why I feel the individual personality will come to overturn corporate identity and the workplace architecture.  

Alfred Huang is a co-founder and principal architect of Massforma Architecture, specializing in smart design for homes and small businesses.

"Too often we rely on the adage, ‘If it ain’t broke, don’t fix it,’ but those words lead to what I call the ‘law of suckage,’ which means by the time you figure out you suck, you’ve sucked for a very long time."
Flexibility

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