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The Impressionist painters began hosting their own exhibitions starting in 1874 and, by 1881, the government had withdrawn its official sponsorship of the annual Salon.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.
Lloyd Alter of Treehugger recently wrote about this infill housing project in Paris. Designed by Mobile Architectural Office (MAO), it is a 6-storey building with 6 residential suites (two of which are 3-storey triplex suites) and 1 ground floor non-residential space.
Building section:
But here’s where things get really remarkable: the area of this corner site is less than 100 m2 (~1,000 sf), the construction budget was €940,000 (excluding VAT), and almost the entire structure was built out of cross-laminated timber. So overall, this is an incredibly sustainable build: it uses land and services efficiently and it uses low-carbon materials.
At this point, you should now be wondering, “why can’t we just do this everywhere?” And this would be the right question.
Lloyd correctly points out in his article that one of the things that makes this building feasible is that it only has one exit stair (as well as no elevator). Typically you need two means of egress, which can serve as a real barrier to smaller builds like this one here.
But in this case, and this is part of the argument, the building is small enough that, should a fire or emergency happen, occupants could be rescued through their windows. So technically there are still two ways of getting out.
In this year’s predictions, I mentioned that we would see “supportive building code changes”, which would help to encourage more infill housing. Exiting is one of the changes I had in mind when I wrote the post. So here’s hoping that policy makers are reading this blog, looking to projects like this one in Paris, and recognizing the benefits.
Talking about exit stairs may not be as exciting and seemingly impactful as something like a foreign buyer ban, but I promise you that removing the many barriers to building this scale of housing would ultimately bring more benefit to our cities.
P.S. This project is also social rental housing.
Image: MAO
Toronto doesn't like electric scooters. Something about them being dangerous. But here are some interesting statistics for France, which has apparently become the leading scooter market in Europe:
The Fédération des Professionnels de la Micromobilité (FPMM) -- yes, this exists -- estimates that there are about 2.5 million regular scooter users in France.
In 2021, about 900,000 units were sold in the country, which represents a 42% increase compared to 2020.
Sales directly to users is outstripping the revenue from self-service operators such as Lime, Bird, Dott, and Voi. Current annual estimates are in the range of €310 million and €40 million, respectively.
About 50% of scooter sales are happening at grocery stores, compared to 30% at other retailers, and 20% online. (This is kind of interesting. I wonder if people are impulse buying while shopping for food.)
I am a big fan of electric scooters. And all of this suggests to me that scooter adoption is likely to continue, that we are going to need to start thinking more about how best to incorporate them into our cities, and that eventually Toronto will have to stop being so conservative.