Like the chartreuse escalator, the shiny red fourth floor area appears in many personal videos and photos, very likely for the same reason that, being a relatively intimate, narrow space through which one moves, it presents the visitor with a personal, cinematic experience of imagery moving past. This is not the overriding logic (or algorithm) of the Library itself however, so it is not surprising that this area is again a transitional space, not one in which the public is meant to linger. It is the “assembly” platform where computer training and meetings take place. The librarian on the video tour skips it entirely.
Posts Tagged 'public'
Tags: distribution, embodiment, general audience, interior, narrative, public, video, web, youtube
Tags: discussion, exterior, flickr, general audience, human figure, perspective, photograph, public, web
In this image, the Seattle Central Library is illustrated in a personal photo uploaded on the popular photo sharing website flickr by the user fromform taken during the opening of the library. We can observe the playful interaction between the two friends and the metallic mesh on the 5th avenue entrance of the library. Unlike most common photographic records of this building, here the focus is on the people in the photograph and not on the library, which is relegated to mere scenery. However, by engaging with the façade’s net, they offer a new reading of the building, namely by giving a proper sense of the scale of this massive grid pattern of the façade. In this user’s online photo, as well as those of most other users, the viewer is invited to observe a private moment . This level of personal exposure is now available to everyone, and the boundaries between privacy and publicity become ever more blurred, mostly produced by the new business plan of web2.0 sites where users generate the content. This picture which serves to this specific user as a memento of the time spent at the library with her friend thus becomes another way through which this piece of architecture is mediated and exposed to the larger public.
see fromform’s photographic set of Seattle’s Central Library here
Tags: database, embodiment, information doxa, print, public, rhetoric, text
OMA’s Proposal for the Seattle Central Library weaves a tale in which OMA intends to “redefine / reinvent the Library as an institution no longer exclusively dedicated to the book but as an information store, where all media — new and old — are presented under a regime of new equalities.”
This is the happy ending they propose to the dire tale they begin which imagines that the Library considers itself, like the Prison, one of the “last moral universes” whose reactionary morality is connected to the book, which it protects, like a fortress.
The Library stands exposed at its most outdated and moralistic at the moment that it has become the last repository of the free and the Public.
Libraries housing books are associated with fortresses, prisons and morality – all constricting, which the Electronic and information are public and “free” (apparently even from morality) — this is distinctly rhetoric of the “information revolution” and “information doxa” Andrew Liu identifies and associates with post-industrialist corporate culture.
The Public, refers to the library’s “Social Role,” which, we see via a graphic (p. 18), refers to public service programs such as adult education, art exhibits, remote access, library war service program, to which the Library has “not yet adjusted.” The Library is likened “a host organism overwhelmed by its parasites.”
The key to OMA’s design, or what Manovich might call their algorithm, is the transposition of books to programs, as revealed in the color-bar chart which is the heart of their visualization of the new Library. In this way, they reclassify the library from book-oriented subject areas, to areas of grouped “programs.” They are shifting the model of the Library from a database of material books, to a database of both actual and virtual materials.
The virtual can become the distributed presence of the new Seattle Public Library that users find confirmed in its actual site in the city.
Note the word “user” instead of “patron” to denote a person who would visit in this new Library. As the rhetoric of the entire proposal describes the Library in terms of functionality, organization, and grouped programs (algorithms); it is not surprising that there is no indication of narrative or human subjectivity. Humans are not the subjects of this proposed structure, nor are books. The Library itself — its identity — is the subject. There is no acknowledgement that this identity exists only in human perception.
In contrast, Frank Gehry discussing the Walt Disney Concert Hall:
… I hope that when people attend concerts in the hall, their eyes will wander through the shapes of the building and find that what they see harmonizes…
The entire building was designed from the inside out and was meant to invite people to come inside.
Both of these statements imply narrative, human, experiences of the space as seen through the embodied vision of human eyes.
It may be going too far to claim that the database aesthetic expressed by the Seattle Central Library is anti-humanist (or post-humanist), but the shift in emphasis away from subjectivity to information system might account for many of the complaints about the “arrogance” of the Library and the impression it doesn’t cater to its patrons. (See blog post of visiting librarian).
The only images in the Proposal that posit actual human bodies are purely conceptual collages that do not pretend to represent the planned space of the Library. The collages merely express a pop-culture attitude. The humans are decorative.
[See also SCL as Database]
Tags: 3-D, discussion, exterior, general audience, google earth, perspective, public, web
In this example the Seattle Central Library is represented by four 3-D models existing in Google 3-D warehouse, and which can be employed in Google Earth software. In its attempt to map and catalogue most of everything, Google has created a 3-D warehouse to which users can upload their three dimensional representation of virtually anything, from coffee mugs to bridges. These objects find their place in the representational world of Google Earth but also in the smaller pockets of represented world created in the desktops of architects, engineers, and other enthusiasts, which can download and apply them to their own 3-D models. The warehouse serves as a platform where 3-D models are exchanged between users. While there are several intricate objects in the warehouse, the representations of the library are composed by simple slanted exterior planes with a roughly realistic mapping applied and a voided interior. No signs of the human subject exist, and manipulating the view to a human level is an arduous and disappointing task. In this virtual environment the human subject has relinquished its traditional central role to the urban environment and adapted to the position of observer and creator. While it accurately depicts the physical space, this represented world lacks in illustrating the real space of the human subject, the social space.
Tags: 3-D, 5th avenue, discussion, exterior, general audience, hand drawing, orthogonal, public, web
Tags: discussion, embodiment, escalator, floor, general audience, human figure, interior, music, narrative, perspective, public, video, web, youtube
Here the Seattle Central Library is the setting for indie-rock band Peaches’s music video. Like the library spaces, the music is also composed of a distinct duality of elements, namely smooth electronica sounds alternated with strong beats combined with the human presence of the vocals. There is a striking proposition in this piece, where the space-time continuity of the action is only allowed in transitory and dynamic spaces like the escalator or the highway, and other static spaces like the meeting room floor, the mixing chamber or the reading are flashed through in rapid succession. Also shown in rapid succession are several different notorious floors of the library, where the presence and stagnation of the human subject is suggested by the immovable image of tennis shoes and trousers while the floors rapidly flicker through. A possible reading to this situation could be, initially, an insinuation to the problematic of the rapid changes of contemporary society to which the human subject must quickly respond and adapt to. The solution seems to lie not in a change of the subject, but in a change of its view, suggested by the zooming out of these views visible in the end of the video.
The video presents another case of a syntagm (narrative) constructed from the paradigm of the SCL. This narrative again emphasizes a singular and subjective point-of-view and an embodied experience of the space. Although we never see his face or hear his voice, we know that our narrator is also our protagonist, as we see, from his point-of-view, his feet, against the various floor textures as he navigates through the space. The soundtrack, the jump cutting, and the reduced frame rate imply a playful, pop-culture subjectivity. Interestingly, but perhaps not surprisingly, the story that unfolds has nothing to do with books, computers, or librarians. It involves a young woman in a beige trench coat whose face we never see, although we – via the protagonist – follow her. This narrative is a romance with an air of mystery or visa-versa, for which the building is but the setting, or perhaps even a secondary character.
Tags: discussion, escalator, general audience, interior, perspective, public, video, web, youtube
The escalator is the most popular setting for home video (as seen on YouTube) and personal photo (Flickr.com) depictions of the Library.
This might have something to do with the elevator being a modernist-era technology which relates to space and architectures in a very linear, narrative, cinematic way. It moves individuals up through space, freeing their eyes from watching their step, to look out at the passing, ever-changing view. This embodied, cinematic effect is enhanced by the SCL escalator’s glowing chartreuse color which emphasizes one’s movement through a special space, and by the sculptures of Tony Oursler — themselves both cinematic (moving images) and embodied, gazing back at the traveler.