Alec Nevala-Lee

Thoughts on art, creativity, and the writing life.

Archive for July 5th, 2017

The closed circle

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In his wonderful book The Nature of Order, the architect Christopher Alexander lists fifteen properties that characterize places and buildings that feel alive. (“Life” itself is a difficult concept to define, but we can come close to understanding it by comparing any two objects and asking the one question that Alexander identifies as essential: “Which of the two is a better picture of my self?”) These properties include such fundamentals of design as “Levels of Scale,” “Local Symmetries,” and “Positive Space,” and elements that are a bit trickier to pin down, including “Echoes,” “The Void,” and “Simplicity and Inner Calm.” But the final property, and the one that Alexander suggests is the most important, bears the slightly clunky name of “Not-Separateness.” He points to the Tower of the Wild Goose in China as an example of this quality at its best, and he says of its absence:

When a thing lacks life, is not whole, we experience it as being separate from the world and from itself…In my experiments with shapes and buildings, I have discovered that the other fourteen ways in which centers come to life will make a center which is compact, beautiful, determined, subtle—but which, without this fifteenth property, can still often somehow be strangely separate, cut off from what lies around it, lonely, awkward in its loneliness, too brittle, too sharp, perhaps too well delineated—above all, too egocentric, because it shouts, “Look at me, look at me, look how beautiful I am.”

The fact that he refers to this property as “Non-Separateness,” rather than the more obvious “Connectedness,” indicates that he sees it as a reaction against the marked tendency of architects and planners to strive for distinctiveness and separation. “Those unusual things which have the power to heal…are never like this,” Alexander explains. “With them, usually, you cannot really tell where one thing breaks off and the next begins, because the thing is smokily drawn into the world around it, and softly draws this world into itself.” It’s a characteristic that has little to do with the outsized personalities who tend to be drawn to huge architectural projects, and Alexander firmly skewers the motivations behind it:

This property comes about, above all, from an attitude. If you believe that the thing you are making is self-sufficient, if you are trying to show how clever you are, to make something that asserts its beauty, you will fall into the error of losing, failing, not-separateness. The correct connection to the world will only be made if you are conscious, willing, that the thing you make be indistinguishable from its surroundings; that, truly, you cannot tell where one ends and the next begins, and you do not even want to be able to do so.

This doesn’t happen by accident, particularly when millions of dollars and correspondingly inflated egos are involved. (The most blatant way of separating a building from its surroundings is to put your name on it.) And because it explicitly asks the designer to leave his or her cleverness behind, it amounts to the ultimate test of the subordination of the self to the whole. You can do great work and still falter at the end, precisely because of the strengths that allowed you to get that far in the first place.

It’s hard for me to read these words without thinking of Apple’s new headquarters in Cupertino, variously known as the Ring and the Mothership, which is scheduled to open later this year. A cover story in Wired by Steven Levy describes it in enraptured terms, in which you can practically hear Also Sprach Zarathustra:

As we emerge into the light, the Ring comes into view. As the Jeep orbits it, the sun glistens off the building’s curved glass surface. The “canopies”—white fins that protrude from the glass at every floor—give it an exotic, retro-­future feel, evoking illustrations from science fiction pulp magazines of the 1950s. Along the inner border of the Ring, there is a walkway where one can stroll the three-quarter-mile perimeter of the building unimpeded. It’s a statement of openness, of free movement, that one might not have associated with Apple. And that’s part of the point.

There’s a lot to unpack here, from the reference to pulp science fiction to the notion of “orbiting” the building to the claim that the result is “a statement of openness.” As for the contrary view, here’s what another article in Wired, this one by Adam Rogers, had to say about it a month later:

You can’t understand a building without looking at what’s around it—its site, as the architects say. From that angle, Apple’s new [headquarters] is a retrograde, literally inward-looking building with contempt for the city where it lives and cities in general. People rightly credit Apple for defining the look and feel of the future; its computers and phones seem like science fiction. But by building a mega-headquarters straight out of the middle of the last century, Apple has exacerbated the already serious problems endemic to twenty-first-century suburbs like Cupertino—transportation, housing, and economics. Apple Park is an anachronism wrapped in glass, tucked into a neighborhood.

Without delving into the economic and social context, which a recent article in the New York Times explores from another perspective, I think it’s fair to say that Apple Park is an utter failure from the point of view of “Not-Separateness.” But this isn’t surprising. Employees may just be moving in now, but its public debut dates back to June 7, 2011, when Steve Jobs himself pitched it to the Cupertino City Council. Jobs was obsessed by edges and boundaries, both physical and virtual, insisting that the NeXT computer be a perfect cube and introducing millions of consumers to the word “bezel.” Compare this to what Alexander writes of boundaries in architecture:

In things which have not-separateness, there is often a fragmented boundary, an incomplete edge, which destroys the hard line…Often, too, there is a gradient of the boundary, a soft edge caused by a gradient in which scale decreases…so that at the edge it seems to melt indiscernibly into the next thing…Finally, the actual boundary is sometimes rather careless, deliberately placed to avoid any simple complete sharp cutting off of the thing from its surroundings—a randomness in the actual boundary line which allows the thing to be connected to the world.

The italics are mine, because it’s hard to imagine anything less like Jobs or the company he created. Apple Park is being positioned as Jobs’s posthumous masterpiece, which reminds me of the alternate wording to Alexander’s one question: “Which one of these two things would I prefer to become by the day of my death?” (If the building is a monument to Jobs, it’s also a memorial to the ways in which he shaded imperceptibly into Trump, who also has a fixation with borders.) It’s the architectural equivalent of the design philosophy that led Apple to glue in its batteries and made it impossible to upgrade the perfectly cylindrical Mac Pro. Apple has always loved the idea of a closed system, and now its employees get to work in one.

Written by nevalalee

July 5, 2017 at 8:59 am

Quote of the Day

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Written by nevalalee

July 5, 2017 at 7:30 am

Posted in Quote of the Day, Theater

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