Brandon Donnelly

Daily insights for city builders, delivered every morning at 6 AM ET. I’m Brandon Donnelly — a Toronto-based real estate developer and founder of Globizen. I’ve been writing here since 2013.

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Category: Art

  • /imagine prompt: A silver Land Rover Defender driving through a snowstorm in the mountains of Utah

    Like everyone else, I have started playing around with Midjourney to create AI-generated images. Here are two that I created last night using the prompt: “A silver Land Rover Defender driving through a snowstorm in the mountains of Utah.”

    Now, you can tell that these are AI-produced images, but it’s still wildly impressive that something like this can be easily generated in a matter of a few seconds. And that’s the thing about AI: it’s easier to get, especially compared to crypto. It’s immediately useful and it’s immediately clear what this can and will disrupt.

    Levis, for example, just announced that it will start using AI-generated photography in lieu of actual fashion photoshoots. This is obviously suboptimal for photographers, models, makeup artists, and so on, but a hell of a lot easier for Levis. I would also imagine that the same thing will happen to real estate renderings and many other things beyond just imagery.

    Ben Myers and Steven Cameron recently speculated on their podcast — Toronto Under Construction — that AI could be used for reviewing development applications. Imagine how much this would speed up reviews and the delivery of new housing! So there are very good reasons for why the hype cycle has moved over to AI from crypto and NFTs.

    However, I’d like to go on the record saying that my gut tells me that this will only make what crypto offers even more important. Permissionless public databases (as opposed to databases controlled by individuals/companies) and the ability to demonstrate authenticity/ownership, feel like two important things to me in a world where computers are constantly generating a flood of new content and nobody knows what is “real” anymore.

    It’s certainly a lot less tangible than, “hey, check out this badass Defender driving through the snow.” But I feel strongly that these two innovations will end up working together.

  • The Centre Pompidou in Paris now owns NFT art

    Last week, the Centre Pompidou — which is Europe’s largest modern art museum — announced that it has acquired its very first NFTs (18 pieces by 13 artists) and that it will be exhibiting the collection this spring. This makes them the first museum in France to own NFT art and, I’m guessing, one of the first in the world. (The Los Angeles County Museum of Art recently got some as well.)

    This is fun for a few reasons. The obviously fun reason is that it’s good for NFT collectors and people who generally support this space. Big institutions bring legitimacy. It’s one thing to say that these JPEGs are stupid while sitting at home on your computer, but it’s an entirely different thing to travel to Paris, visit the Centre Pompidou, look at its white gallery walls, and then say that these JPEGs are stupid!

    The other fun thing about this is that it shows a continued openness to new ideas and new technologies. Here are some words from the Pompidou (that have been translated, by Google, from French):

    The idea was not to be the first, but to bring together a relevant collection, which could testify to a creative and critical appropriation of a new technology by artists, and how this disrupts and displaces the art ecosystem. From its creation, the Center Pompidou has relied on the idea that contemporary technological creation and creativity should be at the heart of the institution. From 1974-1975, therefore even before the opening of the Center, the National Museum of Modern Art acquired major works and installations by Dan Graham and Bruce Naumann. Video installations using real time, and it was the very first institution to do so.

    This wasn’t always the case in France. One of my favorite art history classes from university was one that covered Impressionism. Partly because I thought their work was cool, but mostly because Impressionist painters were, in a way, early modernists. They rejected the academic approaches to painting and instead decided to make up their own rules.

    At the time, in the 19th century, this was seen as entirely radical. And it meant harsh criticism from the established art world and an inability to meaningfully exhibit at the Salon (which was everything at the time). But history has a way of showing us that if something is inherently a good idea, you can only remain stubborn for so long.

    The Impressionist painters began hosting their own exhibitions starting in 1874 and, by 1881, the government had withdrawn its official sponsorship of the annual Salon. The jurors wanted to cling to only traditional painting styles and the world wanted to move on. And here it is doing that again, today.

  • Two very different beans

    As far as I know, there are now at least two mercury-like and bean-like public art sculptures in the US by Anish Kapoor. The first is, of course, in Chicago’s Millennium Park (pictured above). Commonly referred to as just “The Bean”, the sculpture was dedicated in 2006 and, since then, has gained international fame as a solid place to take a selfie.

    But as of this year, there is now a second “mini-bean” in New York’s Tribeca neighborhood. Sitting literally underneath 56 Leonard (a residential tower designed by Herzog & de Meuron), this bean varietal was first announced in 2008, but has taken a few years to be completed. The building itself was completed about 5 five years ago.

    It turns out though, that all beans are not made equal. Here’s some initial feedback from Bloomberg CityLab’s Kristin Capps:

    New York’s half-bean feels half-baked: a disappointing imitation for the city and a franchise play by the artist. For New York to install the lesser version of a Chicago icon reeks of second-city status. And while the original sculpture is still a treasure, the second iteration feels like a monument from 20 years ago — because it is.

    But it’s all perception. If Chicago’s bean had never been unveiled in 2006, and this was the first shiny urban selfie bean, then I’m sure we’d all be headed to Lower Manhattan with our phones. But instead, here we are talking about how it “reeks of second-city status” and how it is the “eyesore that no one asked for“.

    It’s all very fascinating if you think about it. And it’s a perfect example of why blockchains are proving to be so valuable in the world of art. Because with art, provenance and authenticity are everything. You need to know where it came from, who made it, and that it’s scarce. And as we can see here, it can be the difference between loving a bean and hating a bean.

    Photo by Wicker Woodsong on Unsplash

  • Brutalist live/work creative space opens in Kanazawa, Japan

    I am really interested in these sorts of spaces. In this case, these is an old brutalist office building in Kanazawa, Japan that was purchased in 2019 by artist Hiraki Sawa. The original intent was to turn it into a co-working space, but eventually the idea evolved into a hybrid “co-being” space that can be rented as a place to stay and/or as a place to facilitate creativity.

    The space itself was left mostly raw and exposed, but neon movable walls were inserted by AB Rogers Design that allow you to configure the volumes as you’d like. What’s interesting about spaces like these is that they enable play and experimentation. Maybe it also makes money, or maybe it doesn’t. But that doesn’t seem to be the main point.

    The point is to empower creativity. And finding spaces to do this can be tough in competitive markets where demand is consistently outstripping supply. Oftentimes you need some slack in the system so that there’s literal breathing room for new ideas, or rich people who can make it so.

    Whatever the case, I am a believer that when given the opportunity, people will generally find a way to imagine and create. So if you happen to find yourself in Kanazawa and would like to book this space, which is called Fish Market, click here. Guests are being asked to submit a request explaining how and why they’d like to use the space.

    It’ll be fun to see what this leads to.

    Photos: Takumi Ota via AB Rogers Design

  • Bright Moments should come to Toronto

    I love what Bright Moments is doing. And Fred Wilson’s post this morning — about their latest event in Mexico City — reminded me of that.

    Bright Moments describes themselves as “an NFT art collective on a mission to create environments where artists and collectors witness the birth of generative art together.”

    What this means is that they are working to move the experience of NFT art away from individual computer screens toward physical events where the art can be consumed and also created (i.e. minted) in a group setting.

    For a taste of what this actually means, check out their website and then hang out for a bit with their homepage video.

    So far they have hosted an event in the following 5 cities: Venice Beach (okay, actually a neighborhood), New York, Berlin, London, and Mexico City. And at each stop on their tour of what will be 10 places, they have done an in-person minting of their official collection, called CryptoCitizens.

    I haven’t been to one of them, but I can see how it would be a lot of fun and how it might change your perception of NFTs. So I am hoping that for one of their last 4 stops (the first stop was in the “Galaxy”), they’ll come to Toronto. Ethereum was pretty much created in this city, so I think it only makes sense for there to be Toronto CryptoCitizens.

    If you too would like to see this happen, make sure you tweet at Bright Moments and tell them that they should come to the greatest city in the world.

  • Consuming architecture

    Is this a true or false statement?

    “It is through media, of course, that we primarily consume architecture.”

    Witold Rybczynski recently spoke about this on his blog. Initially he thought it was a preposterous statement. But then he begrudgingly accepts that it is actually the case today. This in turn leads to an interesting distinction between what it means to experience architecture versus consume architecture.

    The former takes more time. You have to do laborious things like actually be in the space, walk around it, and generally just experience what it’s like to be there. Consuming, on the other hand, is much easier. Maybe it’s as simple as an image in your social feed that you forward to a friend so that they can in turn respond with a single fire emoji. Cool. Consumption done.

    Naturally this distinction translates into different ways of thinking about architecture. In the words of Witold, when you’re a consumer of architecture, you want to be “amused, titillated, and entertained.” You don’t have time for subtleties — things like tactile materials, historical references, light, and shadow. This is about consuming architecture.

    Now, I’m not sure if Witold has given any thought to what web3 and a mixed-reality future will mean for architecture, but it’s an obvious and interesting question. Intuitively, one would think that the more time we spend with digitally mediated experiences, the less time we will have to experience architecture the way nature intended it. Though maybe that’s not the way to think about this.

    I tend to be a bit more rosy about the current state of affairs and the future than Witold, but here are two points. One, consumption allows more people to interact with a piece of architecture. In fact, before writing this post I consumed Studio Gang’s recently completed project in Hawaii. It was nice, and maybe one day I will also experience it. That, I agree, would be even nicer.

    Two, architecture is always a product of the zeitgeist at the time. Part of its job is to reflect culture and, for better or for worse, speak to who we are as a society. And so if architecture has become effective at reflecting our current milieu, isn’t it doing exactly what it is supposed to be doing?

  • Placemaking art

    Back in 2017, when Superkul (architects) first started coming up with concept designs for Junction House, we all decided that it would be nice if we could do something to mark the important view terminus that exists with our site.

    We explored a few different ideas and then ultimately landed on a rooftop neon (or neon-like) sign that would read “Junction House.” The idea was to pay homage to the old signage that used to be present in the Junction and to some of the iconic rooftop signs that still exist around the world.

    Of course, the goal was never advertising. There is no economic imperative for us here. We just wanted to do something fun that at the same time could mark the entrance to the Junction neighborhood.

    After proposing this idea, we quickly learned that these are next to impossible to get approved. But to their credit, the City of Toronto fully got it. We heard things such as, “look, we can’t call this art, but we like the idea and we like what you’re trying to do.” Thank you for that.

    The compromise we ultimately struck was to remove the “House” part, leaving just “Junction.” This way it no longer referenced our project and instead referenced a place. By doing this, it became “placemaking.” And that is what is now baked in our site plan approval.

    Fast forward to 2022, and we are now getting ready to test our first 1:1 mockup of the sign. I can’t wait to see how this looks on site.

  • Flash Invaders

    I love seeing these little Invaders all over Marseille. They are everywhere — and usually in a place where you’d be looking even if it wasn’t there (see above). I just learned that there’s also a game you can play with them called Flash Invaders. The way it works is that you earn points every time you come across one and snap a photo. I haven’t been playing. But even without that, they are a lot of fun to discover. I see them as 100% public art and I wish we had something similar in Toronto.

  • 3 things about Le Corbusier’s Cité Radieuse

    I have written about Le Corbusier’s Cité Radieuse in Marseille many times before on the blog. It is one of the most influential multi-unit buildings of the 20th century. For better and for worse, it inspired a generation of architects. But up until this afternoon, I had yet to actually see it in person. Now that I have, here are 3 takeaways.

    The corridors throughout the building were thought of as “streets” in a vertical village. Because of this, each street had a mailbox and each front door came equipped with an elaborate delivery system. The large curvy thing pictured above was for general deliveries (mostly food I’m guessing). And the smaller door below was for ice block deliveries (i.e. refrigeration). In both cases, these doors could be accessed from inside the kitchen.

    The two “streets” in the middle of the building were dedicated to commercial uses. And by being in the middle of the building, they were equidistant from residents living either above or below. I was told that when the building first opened in the 1950s, these streets were actually quite successful — filled with everything from bakeries to grocery stores. So you can imagine people running deliveries up and down to the other streets. But that quickly fell off as the retailing landscape developed in Marseille and in France. Today, this portion of the building houses mostly offices, art galleries, and specialty boutiques. Though there remains a widely-used 21-room hotel (pictured above).

    To fully appreciate what the Cité Radieuse meant for housing in France, you kind of have to imagine what the rest of its stock was like at that time. The introduction of duplex and dual aspect units with modern kitchens and bathrooms and with views of the sea, represented meaningful progress at the time. But it is interesting to see how much ceiling heights have changed over the years. They’re really low here — well under 8 feet. And that is probably its greatest Achilles’ heel today.

    If ever you happen to find yourself in Marseille, I would encourage a visit to the Cité Radieuse. Many of the things we do today started in this building. And there are some other ideas here that might also be worth bringing back.

  • Virtual artists are now being signed to digital record labels

    One of the most interesting things about NFTs is that some, but not all, come with very permissive licensing. What this could mean is that, as a holder, you are free to do whatever you would like with your NFTs, including creating businesses on top of them or using them for other commercial purposes. This is fascinating to me and I like NFT projects that adopt this open approach.

    In the past, we have talked about Bored Ape Yacht Club owners creating things like restaurants on top of their NFTs. But here is another more recent example: An NFT from the CyberBrokers collection has just been signed to a Web3 record label called Player Zero. This is the company’s first “Animated Virtual Artist”, and her inaugural album is available for streaming here, as well as from places like Spotify.

    This might sound kind of crazy if you aren’t following the crypto space. But is it really? We already have virtual influencers with millions of followers, so why can’t we have virtual pop stars being signed to digital record labels?

    I don’t know what this will ultimately mean for the holder of the above NFT, but imagine a world where the owner automatically receives X% of all the proceeds produced by the virtual artist. Now all of a sudden you have a cash flow stream that can be evaluated using traditional finance methods and an asset that can be valued and traded.

    Full disclosure: I own multiple CyberBrokers.