Neophobia

Neophobia, the fear of the new Wikipedia describes it as:

“Neophobia is the fear of new things or experiences. It is also called cainotophobia. In psychology, neophobia is defined as the persistent and abnormal fear of anything new. In its milder form, it can manifest as the unwillingness to try new things or break from routine. The term is also used to describe anger, frustration or trepidation toward new things and toward change in general. Some conservative and reactionary groups are often described as neophobic, in their attempts to preserve traditions or revert society to a perceived past form. Technophobia can be seen as a specialized form of neophobia, by fearing new technology”
In a time when all we hear and read about the need for constant innovation, renewal and change it is interesting to take neophobia into consideration. Wikipedia mentiones a book by Robert Anton Wilson called Promethues Rising, in which the author argues that neophobia is instinctual in people once they have become parents and raise children.

It reminds me of a book by Douwe Draaisma: Why life speeds up as you get older. Draaisma uses an example of a Willem van de Hull, a Dutchman who lived in the 18th Century and who wrote a meticulously detailed memoir. A histogram of recollections shows that there is a peak between the age of 15 to 25, a period in our life in which “events occur that shape our personality, determine our identity and guide the course of our life”. Does Draaisma’s analysis indicate that neophobia is a biological phenomena wired-into our genetics? This argument would almost render all the talk about change and innovation meaningless for anyone older than 25, married and with children.
British biologist Rupert Sheldrake takes a different view with a “Morphic field” in which a “certain group which has already established its (collective) morphic field, will tune into that morphic field. The particular form will read the collective information through the process of morphic resonance, using it to guide its own development. This development of the particular form will then provide, again through morphic resonance, a feedback to the morphic field of that group, thus strengthening it with its own experience resulting in new information being added (i.e. stored in the database).”

Sheldrake argues that change comes slow but when it reaches its peak it is implemented with great ease. Examples used by Sheldrake include a study on birds in the Uk who learned opening milk bottles. The study found that when a certain type of new closure for milk bottles was introduced initially birds in a certain area of the UK discovered how to open these bottles, and that the method then was “discovered” by other birds all over the country. According to Sheldrake’s theory the morphic field is extending geographically through resonance. He acknowledges that the learning curve for things new is faster in children (learning to use computers for example) but still the factor of an increasing number of users adds to the speed with which the change is being adopted.

LCD Soundsystem

One of my clients introduced me to LCD a few years ago. LCD soundsystem is a project by James Murphy and from listening to his latest CD: Sound of Silver you get 30+ years of fantastic music (it seems James Murphy has an impressive record collection) compressed into one CD. Can, Eno, Faust, Kraftwerk, The Cure, Depeche Mode, (early)Human League, and 80’s funk and disco it is all in there.

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Favourite tracks: North American Scum, Us v Them.

Great music to play in the office.

Kurokawa as Tokyo Governor?

Architect, Kisho Kurokawa is planning to run for Tokyo Governor:

“Internationally acclaimed architect Kisho Kurokawa indicated Wednesday he may run in the forthcoming Tokyo gubernatorial election.

Kurokawa, 72, has stated his intention to stand in the gubernatorial race to be held on April 8 unless the 74-year-old incumbent Tokyo governor, Shintaro Ishihara, abandons his plans to seek reelection.

By indicating his desire to run, Kurokawa apparently hopes to persuade Ishihara not to seek reelection for a third term.

Among his campaign pledges, Kurokawa said he intends to push for the withdrawal of Tokyo’s bid to host the 2016 Olympic Games and would promote the relocation of the functions of the capital.”

Japanese architects have always been very critical of Tokyo, I wonder what Kurokawa would mean for the city?

Q3: How much storage?

The appetite for storage it seems is huge, but how much do we really need? Looking at our own office, we need a certain amount of storage space for reference materials, project files, and drawings. Design is a paper intensive business, but once the project is finished we scan everything and keep all the past projects in digital format.

Lesson 1: Even though we need to keep our finished projects on file, we rarely refer to these files. We learned that happens at most our clients offices as well, files might need to be kept for legal or other reasons, but once a project has been completed, an order placed, the files are hardly, if ever, accessed.

Personal storage: Here too, I want to speak from my own experience, I have one pedestal at my desk. This pedestal is full…with stuff for which I have had not had the *cough* time to sort out: name cards that I have received recently (about 50 in a box) that still need to filed, meeting minutes, receipts, drawings, CV’s, post-its, pens, paperclips, note books, more name cards, keys, notes, glue sticks, digital recorder, credit card, dictionary, photographs, post cards with invitation to opening parties (in 2006), data CD’s, sunglasses, warrenties, more post-its…

Lesson 2: most personal filing cabinets are transit boxes for stuff that does not have an immediate permanent location in the office. The transit usually goes from wallet, bag, pocket, top of the work suface (clean desk policy!) to the pedestal, personal filing cabinet. 90% of the stuff could be thrown away or filed digitally.

Jisho Katcho Shatcho

One of our clients, BearingPoint was featured in the TV programme “Jisho, Katcho Shatcho” (Company, manager, president) this Wednesday. Using the office as a backdrop in which two comedians fool around, and introducing Bearingpoint’s people and the jobs these people do. The programme is sponsered by Recruit, a major recruiting and job placing company, and in a very light way, various companies are introduced, showing what one can expect working for a company like BearingPoint. Below some pictures I took of the programme.

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The play area.

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Uchida-san talking about the concept of the office redesign. Taking the example of “the cocoon” explaining that a large percentage of the staff are consultants and basically can work wherever they want. Thus coming to the office is a chance to meet colleagues and the office is a way to encourage brainstorming and exchanging ideas.
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Child’s play

Britain’s commission for architecture and the built environment has created a site for 11-16 year olds to learn about the concepts of design. Using a series of questionnaires children (anyone actually) can learn the importance to balance functionality, build quality and impact. Never too young to learn.

Which places work

Q2: How much?

Do the prices for constructing an office in Japan make sense?Of course not. The problem really is that in most office buildings in Japan the building owner has a designated contractor in place. This means that when you want to partition off rooms, create a reception etc… you need to ask the building contractor to do the work. And guess what, this designated contrator is going to present you with inflated prices to do the work… This is obviously one of the reasons why most Japanese office look the way they do: in order to avoid considerable construction costs offices are designed (put into place) with the intention of not having to cost an arm and a leg. That is why most meeting rooms walls in these office will not go all the way up to the ceiling (to avoid moving air conditioners) or have very few partitioned rooms at all.

Designated contractors seem to be unavoidable, especially with rents going up again to bubble times. Does this mean that we are going to see more offices “designed” by the restrictions of the designated contractors? Probably.

So how can you make sure that you can still design a funky work environment without a spicy price tag?

1. Negotiate before signing the lease that some of the work can be outsourced to other contractors. Make sure that the designated contractor has competition!
2. The design should be well thought through, and drawings handed in should have all the necessary details so there is no need for any guessing on the contractor’s side. Remember they will always guess in their favour.
3.  Buy a thick red marker and scrutinize the estimates. Check for product prices, contractors should normally get 40-60% discounts, not providing discounts will drive their fees up twice as they will charge a percentage (usually 12%) on top of the construction costs.

4. Hire a professional. Actually that is what you should have done in the first place!

Q1: Is WorkVitamins a democratic process?

No. (But if implemented in the right way: Yes)
Even though we will do interviews, questionnaires, staff reviews, polls etc… the issues involved in the design of the work environment are so complex, so broad that in the end it is impossible to please everyone.
In order to be able to keep all the issues together it is crucial to know what to keep and what to forget from the analysis phase of WorkVitamins. I call this “selective listening”. After all, the basic idea of WorkVitamins is that the process is not a cure to a problem, but a suppplement to change. WorkVitamins is preventive rather than reactive and this is sometimes difficult to see during the design process.
As the WorkVitamins procedure starts with a Shared Workplace Vision (read more about the process at vanderarchitects.com) the vision can only be set by those who steer the company. The direction of where a company is going needs to be clear, and well defined. If that is not the case the rest of the staff will not be able to understand the purpose of WorkVitamins. Actually, if not communicated well WorkVitamins can easily create the opposite effect: confusion and revolt.

If for example one of the issues that has been identified during the Shared Workplace Vision was to improve team communications, every one in the organization should understand why team communications is important to the company. If the implementation of the spaces that will encourage team communications will have an impact on the overal space plan, this too needs to be made clear. If not, a territorial battle over personal space will unleash and will severely damage the implementation. Thus the importance of “selective listening” during the analysis: to understand and identify the elements that could potentially emphasize as well as damage the implementation of the Shared Workplace Vision.

Outside-in architecture versus inside-out architecture pt2

Before I visited japan for the first time, I went to an exhibition on Japanese architecture where I saw a model of Fumihiko Maki’s Spiral building. In the design Maki had to accomodate a complex programme including a bar-cafe, a theatre, exhibition and music space under one roof. When I visited the building 3 months later I noticed that the programme was well defined. The name too, Spiral, was very clear: the elements spiral upwards almost effortlessly upwards throughout the building. But the exterior, the elements that I saw on the top of the model were only visibleif I had a bird-eye view, like I had with the model. Architecture, here I felt, was reduced to the creation of models, models that in the end (in its built form) would be nothing more than useless shapes wrapped around a programme. Did I witness the end of architecture, here in this prime example of bubble architecture? Was this inside-out architecture that still wanted some of the old glory: outside-in and wrap it together?
It is a well-known fact that during the Japanese real estate bubble in the mid 1980’s the cost of land was far greater than the construction cost of the building. Thus buildings such as Philippe Starck’s La Flame D’or a building of which the flame-like element on top seems to have cost more than the rest of the building. Due to the astronomical land prices, the cost of construction was marginal and in a way did not seem to matter. Philippe Starck is a designer, well-known for his furniture and the building has object-like qualities. The building reduced to a sign, in a city of signs, the end of architecture?

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