303- The Hair Chart (4/2018)
Andre Walker became famous for being Oprah Winfrey’s hair stylist, but he is also known for something else: a system that he created back in the 1990s to market his line of hair care products. The system categorizes natural hair types, and it's often referred to simply as "the hair chart." The chart identifies four hair types and within each of those categories there are different sub-types. The chart spans straight, wavy, curly, and kinky hair.
For Walker, the chart was all about selling his products. People could use it to identify their hair type and then buy a complementary product. But the chart has gone way beyond his own hair care line and become a way some African-American people talk and think about hair. Not everyone thinks the categories are helpful, and some of the criticism has its roots far back in American history.
This episode is a collaboration with The Stoop, a podcast hosted by Leila Day and Hana Baba, which features stories from across the black diaspora.
302- Lessons from Las Vegas (4/2018)
To this day, architects tend to turn their noses up at Las Vegas, or simply dismiss it as irrelevant to serious design theory. But as Denise Scott Brown discovered in the mid-1960s, there is so much to learn from Las Vegas about how to make architecture that speaks to people and not just to architects.
301- Making it Rain (4/2018)
The battlefield has always been at the mercy of the climate, but there was a time in U.S. military history when we did more than just pray for advantageous weather. We tried to create it.
300- Airships and the Future that Never Was (3/2018)
They are hulking, but graceful -- human-made whales that float in the air. For over a century, lighter-than-air vehicles have captured the public imagination, playing a recurring role in our dreams of alternate realities and futures that might have been. In these visions, cargo and passengers traverse the globe in smoothly gliding aircraft, then dock elegantly at the mooring towers on top of Art Deco skyscrapers.
Today, blimps are mostly just PR gimmicks, but for 100 years, lighter-than-air crafts were seriously considered as the perfect design solution for all kinds of problems, at least in theory. And despite setbacks and failures, people just wouldn’t give up on the promise of airships.
The most promising (and most opulent) rigid airship of the 1920s era was Britain’s R101 (the R stands for rigid) and its rise and dramatic fall is the primary subject of engineering expert Bill Hammack’s new book about Britain’s last great airship, called Fatal Flight.
299- Gerrymandering (3/2018)
The way we draw our political districts has a huge effect on U.S. politics, but the process is also greatly misunderstood. Gerrymandering has become a scapegoat for what’s wrong with the polarized American political system, blamed for marginalizing groups and rigging elections, but there’s no simple, one-size-fits-all design solution for drawing fair districts. Drawing districts may be the most important design problem of representative democracy and this week FiveThirtyEight will guide us through the ways different states have tackled this problem.
Check out the full Five Thirty Eight series The Gerrymandering Project
200- Miss Manhattan Redux (3/2018)
All around the country, there stands a figure so much a part of historical architecture and urban landscapes that she is rarely noticed. She has gone by many names, from Star Maiden to Priestess of Culture, Spirit of Life to Mourning Victory. Now nearly forgotten, Audrey Munson was once the most famous artist’s model in the United States.
In and beyond her time, she has represented many things, including truth, memory, seasons, the stars, and even the universe itself. Immortalized in iron, marble and gold, Audrey remains perched on high, quietly watching over cities from coast to coast.
298- Fordlandia (3/2018)
In the late 1920s, the Ford Motor Company bought up millions of acres of land in Brazil. They loaded boats with machinery and supplies, and shipped them deep into the Amazon rainforest. Workers cut down trees and cleared the land and then they built a rubber plantation in the middle of one of the wildest places on earth. But Henry Ford wanted this community -- called “Fordlândia” -- to be more than just a huge plantation. He envisioned an industrial utopia. He paid his Brazilian workers good wages, at least for the region. And he tried to build them the kind of place he would’ve loved to live, which is to say: a small Midwestern town...but in the middle of the jungle.
In the second segment, we discuss Roman’s other show What Trump Can Teach Us About Con Law
297- Blood, Sweat and Tears (City of the Future, Part 2) (2/2018)
The Bijlmermeer (or Bijlmer, for short) was built just outside of Amsterdam in the 1960s. It was designed by modernist architects to be a "city of the future" with its functions separated into distinct zones. To Modernists, it represented a vision of the city as a well-oiled machine Upon completion, it was a massive expanse of 31 concrete towers. There were 13,000 apartments, many of them unoccupied. Just sitting there, totally empty.
Listen to Part 1 of this story here.
In Part 2, we look at how the migration of tens of thousands of Surinamese Dutch began to give the empty place life where it wasn’t before and how a tragic accident kickstarted a redesign that managed to do what the Modernists neglected to do: listen to the people who live there.
296- Bijlmer (City of the Future, Part 1) (2/2018)
After World War 2, city planners in Amsterdam wanted to design the perfect “City of the Future.” They decided to build a new neighborhood, close to Amsterdam, that would be a perfect encapsulation of Modernist principles. It was called the Bijlmermeer, and it tested the lofty ideas of the International Congress of Modern Architecture on a grand scale. When it was over, no one would ever try it again.
295- Making a Mark: Visual Identity with Tom Geismar (2/2018)
The Chase logo was introduced in 1961, when the Chase National Bank and the Bank of the Manhattan Company merged to form the Chase Manhattan Bank. At the time, few American corporations used abstract symbols for their identification. Seen as radical in that context, the Chase symbol has survived a number of subsequent mergers and has become one of the world’s most recognizable trademarks. Its graphic designer, Tom Geismar, has been a driving force in the field of design and graphic identity for over 60 years. The influence of the firm he co-founded can be felt in logos you see every day.