McMansion, USA
Christina Viana Mendes added
The new ugliness is defined in part by an abandonment of function and form: buildings afraid to look like buildings, cars that look like renderings, restaurants that look like the apps that control them. New York City is a city increasingly in quotation marks, a detailed facsimile of a place.
The Editors • Why Is Everything So Ugly?
One of the weirdest things about modern urbanism, and the Microwave Economy in general, is that we build the opposite of what we like. We adore Europe’s narrow and car-less streets, but build skyscraper-lined cities with sterile shopping malls and six-lane roads, where pedestrians are always on edge. But the Microwave Economy is most visible in arc... See more
David Perell • The Microwave Economy
dane cads added
We are in a period which I think is dominated by two great cultural signifiers. An analog system that belonged to our parents, which has been shot full of holes. It is the symbol of the ruined castle. "Gothic High-Tech." The ruins of the unsustainable. And the other symbol is the favela slum, "Favela Chic," the informalized, illegalized, heavily ne... See more
Bruce Sterling • Atemporality for the Creative Artist
Sixian added
Paulina Paucic added
“The American dream was Every man gets his castle ,” Todd Gannon, the head of architecture at Ohio State University's Knowlton School, told me. Above all else, the suburban life is one of independence, a self-contained homestead where the American family can realize its desire and potential, unperturbed by others. Even the family car gets its own b... See more
Ian Bogost • Revenge of the Suburbs
Brian Wiesner added
... See moreCulture has to follow the dominant modes of perception of a given era. While a twentieth-century building might have been designed to be photographed, the twenty-first century work of art is “designed for reproducibility” through algorithmic feeds…They each contribute and conform to a generic, flattened, reproducible aesthetic. Hence the general st
Ruins have inspired similar kinds of objectification for millennia. For many, they’re visual objects, things to romanticize, fetishize and look at from afar. It’s a simplified way of seeing that lends itself to extraction more than engagement, a kind “over-aestheticization of past eras." Henri Lefebvre explored the phenomenon in 1968, writing ... See more