“A nostalgic look at when architects tried to make the office better.”
- “A fascinating analysis of the way design shapes the relationships between space, work and people.”
- “The authors of The Office of Good Intentions do not purport to offer a solution to our collective office woes. Instead, Idenburg and Suen have put together an expansive survey of attempts to bring technology, space, and social organization into harmonious alignment, with varying degrees of more-or-less short-lived success.”
- “The Office of Good Intentions… examines how the evolution of offices changes us, the people who work in them.”
- “…architects Florian Idenburg and LeeAnn Suen take a trip through the history of American office design. As the ‘good intentions’ of the title suggests, they are interested in utopianism – both architectural and tech – and its inevitable corruption.”
- “At a moment when many are reevaluating how offices influence workers’ happiness, productivity and well-being (choose your own order), architects and designers LeeAnn Suen and Florian Idenburg have put together a series of essays and criticism examining five decades of workplace design.”
- “…dive into some of the world’s most fascinating offices.”
- “The Office of Good Intentions explores how design and technology have transformed how and where we work through a wide and diverse collection of groundbreaking offices.”
- “This book is not an architectural history. It moves with a critical eye through hushed offices and frenzied laboratories, dusty outlaw areas and well-lit influencer stage sets; it rifles through Steve Jobs’s closet and peers into Andy Warhol’s Factory. It is looking for work and finding it everywhere.”
The Office of Good Intentions. Human(s) WorkSoftcover with trimmed pages and ring binder hole punches, 6.7 x 8.7 in., 2.41 lb, 592 pages60Edition: English Availability: In Stock
The Office of Good Intentions. Human(s) Work60
Architecture and the American Office
Stories and speculations on office space
In twelve essays, this book examines the spatial typologies and global phenomena that have defined the office in the last half century. Topics include the return of the work club, the rise of the corporate festival, the way of the charismatic guru, the shattering of the time clock, and the design of playgrounds for work. We cycle through Frank O. Gehry’s radical, playful spaces for digital nomads in the advertising world, stagger under the weight of stacks of punch cards, feel the fit of our bodies in the Aeron Chair, answer the phone in Hugh Hefner’s bed, and scroll through Lil Miquela's feed. Photographic essays by Iwan Baan provide a visual post-occupancy report on a range of canonical office projects, such as Marcel Breuer’s IBM campus in Florida and the Ford Foundation’s urban garden in Manhattan. Four intervening catalogs offer collections of experimental workplace products, augural advertisements for office building components, digital office components, and renderings of speculative workplaces; each catalog bridges the reality of the office and how we imagine its alternatives.
This book is a theoretical backdrop for architects as much as it is for businesspeople and employees. With curiosity and skepticism, it looks at the spaces and solutions that have been designed for human work, tracing the transformation from work to occupation, from punch cards to “playbor,” from today’s lived experience to tomorrow’s unpredictable, imagined futures.
After studying photography at the Royal Academy of Arts in The Hague, Iwan Baan followed his interest in documentary photography, before narrowing his focus to record how humans interact within their built environment, like in his work on informal communities, such as his images of the Torre David in Caracas – a series that won Baan the Golden Lion for Best Installation at the 2012 Venice Architecture Biennale. His work has been exhibited in the Museum of Modern art, the Architectural Association in London, the AIA New York Chapter, and appears frequently on the pages of architecture, design and lifestyle publications all over the world.
Florian Idenburg is an architect in New York and founder of SO – IL (together with Jing Liu). Over the years, SO – IL has been thinking about the future of work, collaborating with Knoll on a series of workspace pieces that contemplate an office without desks. Idenburg further led a series of research and design studios at Harvard’s Graduate School of Design that explored the architecture of work through the lenses of tech, corporate research and development, and government work.
LeeAnn Suen is an architect based in Boston. She holds an MArch from the Harvard University Graduate School of Design, where she contributed to the inaugural volume of Oblique, the Journal of Critical Conservation, and served for three years as an editor of Open Letters, a bi-weekly publication addressing topics in architecture and design through letter writing. She contributed writing to Portman’s America and Other Speculations (2017) and research to the Oxford Bibliography of Postmodern Architecture. Her writing and research explore issues of property, colonization, and occupation in human society.
The Office of Good Intentions. Human(s) WorkSoftcover with trimmed pages and ring binder hole punches, 17 x 22 cm, 1.09 kg, 592 pages
ISBN 978-3-8365-7436-5Edition: English
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