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

  • Paul Smith on being “childlike”

    British designer Paul Smith was recently interviewed by Monocle on Design about his recent collaboration with BMW and Mini. If you like Mini cars, you’ll probably like the episode. But he also raises two interesting points about his business and about how he approaches design.

    The first is that his business is a balancing act. In the front, he wants it to be pioneering, flashy, and self-indulgent. But in the back, he keeps the lights on by selling lots of navy blue suits and polo shirts. Both are important, because if you stop pioneering then you stop being relevant.

    The second point he makes is about how he approaches design. Paul Smith’s London studio is famously cluttered. He likes to collect a lot of stuff. Some might call it hoarding. But for him, the space helps him think laterally and also remain “childlike.” (Where we work apparently matters.)

    Children, as we know, are honest, curious, and free in a way that adults aren’t. They don’t have the same reference points and that can be very empowering. Forget the way that things are currently done and challenge yourself: “What if?” I like that a lot.

    To listen to the Monocle on Design episode, click here.

    Photo by Boris YUE on Unsplash

  • Meatspace vs. metaverse — what is the best way to flex?

    With every passing year, the Matrix feels less and less like science fiction. With the continued rise of the metaverse — Zuckerberg is betting all of Facebook on it — we are increasingly living our lives between two worlds: one is offline and one is online. What this will ultimately mean (for us and for our cities) is of course up for debate. But what is clear is that the traditional trappings of real life have quickly made their way online into the metaverse. Arthur Hayes recently penned this fantastic article about the future of the world (it’s the metaverse) and the role of art (including NFT art). In it, he makes the argument that to “flex” is integral to the human experience. Here’s what he means by that:

    As social beings, the sole purpose of many activities and purchases is to publicly display how much energy you can waste. The nightclub economy is extremely a propos to this concept. Individuals walk into a dark room, listen to loud music (art), dance (a waste of energy akin to a mating call), and pay exorbitant amounts of money to drink liquid. Everyone gets dressed up real nice in articles of clothing that serve no useful purpose other than to demonstrate that the wearer spent a lot of money to display their social status to the rest of the clubbers present.

    People go to clubs to flex. In the words of the late Clayton Christensen, that is the “job” to be done.

    Why this matters is that many of us are now doing the same kind of things online. Buying a CryptoPunk (an OG NFT) for a large sum of money and posting it as your social media profile pic is a flex. Is this rational or irrational behaviour? Whatever your answer, it is akin to paying several hundred dollars for a t-shirt from some cool streetwear brand. The real job to be done is not that you desperately need a t-shirt to cover your upper torso. It is the signalling that goes along with owning something scarce and valuable. One of the things that is so special about NFT-permissioned stuff is that there’s now a simple way to prove and enforce all of these things: ownership, scarcity, and so on.

    What’s equally fascinating to me is how offline and online will end up interacting with each other. (Arthur refers to our offline world as the meatspace. I don’t know if he coined the term, but I’m going to rolling with it for the purposes of this post.) If people end up preferring to flex online instead of offline (and I’m sure many already do), what does that do to our meatspace(s)? And what does it do to our cities and how we build? I have no doubt that these questions are coming.

    Photo by Richard Horvath on Unsplash

  • The Tokyo Toilet

    One of the biggest challenges with living through this pandemic has been finding a good public toilet. Drinking in the park is all fine and dandy, but at some point you’re going to need to find a place to pee. From experience, I can tell you that this can be a challenge in places like Toronto and Vancouver. But from the looks of it, the situation is a bit different in Tokyo. Japan, apparently, views its toilets as a symbol of its world-renowned hospitality culture. And so it takes great pride in the design of its public toilets. Last year, Tokyo invited 16 creators from around the world to redesign 17 of its public toilets throughout Shibuya. The list of creators includes big names like Tadao Ando, Kengo Kuma, Shigeru Ban, Toyo Ito, and many others. And the result is probably the nicest collection of public toilets that you have ever seen (somewhere around 9 of them are already operational with the balance expected to open sometime this year). The uniforms worn by the maintenance staff were even designed by Nigo (creator of the fashion brand A Bathine Ape). That’s attention to detail.

    For more about The Tokyo Toilet project and to check out the completed toilets, click here.

    Image: The Tokyo Toilet

  • Pine Hill Homes launches call for artists to design new laneway house facade

    My realtor friend Mark Savel tagged me in this earlier today.

    Pine Hill Homes has recently completed a laneway suite here in Toronto and they have now put out a call for artists to come up with something creative for its front facade. I think this is a great / fun idea and so I’m sharing it today on the blog.

    I think it also speaks to one of the differences between laneway suites and the main houses that now host them. Could you imagine a builder doing a call to artists for the front facade of a house not on a laneway? It seems less likely to me. But I think that the laneway side is viewed as a little less precious, and that creates an opportunity for playfulness.

    This, in my mind, is a great thing.

    If you decide to participate and your work is selected, you’ll have all of your materials paid for and you’ll also get an honorarium. I don’t know how much the honorarium is, or where this house is actually located, but I’m sure you can find these things out by contacting Pine Hill.

    I’m looking forward to seeing what ultimately gets selected and put up.

  • Shinjuku east exit cat — a new trompe-l’œil in Tokyo

    Last month, a giant 4K digital cat was installed on a billboard near Shinjuku station in Tokyo. See above tweet. It was created using a 26 x 62 foot LED display, and the resulting effect is very much a trompe-l’œil. The cat looks like it’s sitting on a ledge that is carved into the side of a building.

    The cat doesn’t have a name. But the New York Times has reported that locals have started to call it “Shinjuku east exit cat” because of where it is situated relative to the station. I am going to assume that this name sounds a little more endearing in Japanese.

    Having spent a fair bit of time in Asia in my twenties — mainly Taipei, Tokyo, and Hong Kong — I’ve always been impressed by how playful Asian cities are with their buildings, billboards, signage, and lighting. It can make us feel overly conservative. A trip to Tokyo can be like a trip to the future.

    I appreciate that most people don’t want their cities to be overrun with advertising, and that’s what billboards are usually for. It can get tacky. I get it. But sometimes it just makes sense to stick a massive 3D cat on the side of your building. It’s fun and it captures people’s attention.

  • How buildings convey meaning

    Witold Rybczynski and I clearly do not have the same taste in architecture. But he raises an interesting point about the relationship between architecture and art in this recent post. Here’s an excerpt:

    In the name of renouncing the past—and denouncing anything that smacks of decoration—modernism has largely done away with art, the lonely Henry Moore stranded on a plaza, notwithstanding. The problem is that when you strip away figural and allegorical ornament, what is left are mute building materials, mechanical-looking details, and abstract space.

    There is a long-standing tradition of integrating art, and other ornament, into architecture. But modernism viewed this sort of decoration as being superfluous. It wasn’t functionally necessary and so why include it?

    This has led us to today where there is a joke that investing in public art means investing in some sort of add-on that sits outside of your building and that can be classified as art. Perhaps something by Henry Moore.

    The result, Witold argues, is that we have lost something critically important in our buildings: meaning.

    But is allegorical ornament really all that different from a freestanding art piece? Don’t both tell a story? And don’t they both get applied, in a way, to a building that could surely continue on without it?

    At the same time, what is meaningful art? Does it need to include bas-relief and/or figural representations? Or could it be a signed urinal on a pedestal in the lobby with an accompanying digital NFT?

    There’s no question that buildings need meaning. We all crave stories. But sometimes they communicate in different ways.

    Photo by David Vives on Unsplash

  • Digital-only clothing is seemingly taking off — is real estate next?

    https://www.instagram.com/p/CPX05kKAXPb/?utm_source=ig_web_copy_link

    Last month a digital-only version of a Gucci bag sold on gaming platform Roblox for about US$4,115. Again, digital-only. No physical bag that can be brought to brunch. At the time, this was about US$800 more than the real life version of the same Gucci bag. So why not go and buy that one instead?

    I am sure that most of you are scratching your head at this and wondering: who the hell is valuing the digital more than the physical? Could it be that status and signaling — perhaps the real purposes of a designer bag — are even more important online in the world of Roblox than in real life? In this case, it wasn’t even an NFT and so presumably there aren’t any value claims around scarcity and authenticity. (Full disclosure: I don’t know how Roblox works.)

    It’s important to keep in mind that meaningful innovation often starts out looking pretty silly to some/most. And to me, this feels like one of those times. What we are clearly seeing is a blurring between our digital and physical worlds. In fact, just today I was reading about a slew of digital-only clothing companies that sell, you know, contactless cyber fashion. One of those companies is Tribute (embedded post above).

    The way it works is that you first buy a piece of digital clothing (which can sell out just like regular clothing). You then send them a picture of yourself and the company goes and renders that piece of digital clothing onto your photo. The result is what you see above, which to me looks fairly realistic (though at the same time fantastical, which I think is part of the point).

    As out-there as this may seem, this strikes me as something that could become a very big deal. What is real on Instagram anyways? I can also see this being applied to other industries, including real estate. Maybe that is already happening.

    What do you think?

  • Impostor cities

    Canadian cities are well known in the world of film for their ability to stand-in for other global cities. They rarely play themselves, which actually pisses me off. Because I take it as a sign that we’re not doing nearly enough to make Canadian cities the most beautiful and remarkable cities in the world. Canadian cities should play starring roles. Movies should want to feature them, rather than repurpose them.

    That said, it’s an interesting phenomenon to explore. And that’s exactly what the Canadian pavilion will be doing this year at the Venice Biennale. The exhibition is called Impostor Cities and it will explore the various buildings and cityscapes that have been featured in films but that most people probably had no idea were Canadian.

    It is perhaps a new perspective on Canadian cities, bringing our stand-ins into the limelight. And it’ll be available online and onsite (yes, real life) starting May 22. I’m sure it’ll be great. I just hope that it makes us realize how embarrassing it is that our cities aren’t being celebrated in the way that they should be. Let’s be bolder. Let’s build greatness.

  • Net flow of households across US regions

    These are a set of diagrams taken from a recent WSJ article talking about how, “the pandemic changed where Americans live.” I know that this is a topic that gets a lot of air time (both here on the blog and elsewhere), but these diagrams do a good job of showing the flow of people, as well as how things may have changed/accelerated since 2018.

    These diagrams also remind me of the work of Charles Joseph Minard. A French civil engineer, Minard is best known for his contributions to the field of information graphics, and in particular his flow maps. His most famous piece of work — which I happen to have hanging at home — is his depiction of Napoleon’s losses during the Russian campaign of 1812.

    The map itself is from 1869 and is packed full of information. It shows the number of Napoleonic troops as they left for Moscow, the distance they traveled, the outside temperature (the French weren’t properly prepared for the cold), latitude and longitude, the direction of travel, and the location of the troops relative to specific dates.

    The point of the diagram was really to show how disastrous this campaign was for Napoleon. The thick beige band on the left is showing over 400,000 troops setting out. But by the time they reached Moscow — which, by the way, had been abandoned before their arrival — only about 100,000 troops were left.

    The thin black bar on the bottom is showing how many troops ultimately remained and returned at the end of the campaign — the number was only about 10,000. So the vast majority of Napoleon’s troops perished. Supposedly over half either starved or froze to death.

    Some 150 years later, and we are still using flow charts to clearly depict the movement of people and things.

  • The new Miami

    The last year has been challenging for the hospitality industry. But at the same time, it was a good year to renovate. The W South Beach recently unveiled a $30 million renovation project that includes all 357 rooms. Designed by local studio Urban Robot Associates, the project directive was an interesting one. The team was asked to reimagine the hotel for the “new Miami.” A Miami that is more grown up and cultured, but that, of course, still has a bit of an edge. With all of the attention that Miami and Florida are getting right now, this project feels timely and indicative of something broader underway. Indeed, it’s hard not to acknowledge that Miami is having a moment right now. This also happens to be one of the last hotels that I stayed at prior to last March’s lockdown. So I have a clear “before” in my mind. It’s fun to see how much it has changed over the last year while I was mostly sitting at home. (Shameless plug: I also love the pale wood herringbone floors, which, coincidentally, will also be on offer at One Delisle.)

    Images: Urban Robot Associates