Back in 2017 when I was in New York, I went on a self-guided infrastructure tour: 32 Avenue of the Americas, 60 Hudson Street, and the subject of this article, 33 Thomas Street. One of my pictures is used to illustrate its creepiness, both in real life and as an evil lair in fiction:
A windowless telecommunications hub, 33 Thomas Street in New York City embodies an architecture of surveillance and paranoia. That has made it an ideal set for conspiracy thrillers.
A beautiful meditation on Christopher Alexander by Claire L. Evans.
My talk, Building, was about the metaphors we use to talk about the work we do on the web. So I’m interested in this analysis of the metaphors used to talk about markup:
- Data is documents, processing data is clerking
- Data is trees, processing data is forestry
- Data is buildings, processing data is construction
- Data is a place, processing data is a journey
- Data is a fluid, processing data is plumbing
- Data is a textile, processing data is weaving
- Data is music, processing data is performing
When we find remains of beavers, we assume they built beaver dams, even if we don’t immediately find remnants of such dams. The beaver dams are part of what biologists would call the animal’s extended phenotype, an unavoidable necessity of the ecological niche that the beaver occupies. When we find Homo sapiens skeletons, however, we instead imagine the people naked, feasting on berries, without shelter, and without social differentiation.
This sounds like seamful design:
How to enable not users but adaptors? How can people move from using a product, to understanding how it hangs together and making their own changes? How do you design products with, metaphorically, screws not nails?
Fascinating snippets of information about some of the most interesting buildings in Brighton.
(The website was made by Lydia and Tash as a project for Code First: Girls)
Ballardian spaces.
A fascinating bit of cartographic reverse engineering, looking at how Google has an incredible level of satellite-delivered building detail that then goes into solving the design problem of marking “commercial corridors” (or Areas Of Interest) on their maps.
Ben points to a new product aiming to ease the pain of connected devices bumping up against the harsh realities of shearing layers:
By exposing the ‘hardwiring’ of our electrical systems, Conduct emphasises how much we rely on existing systems to power our ‘new’ technology – the rate of change and advancement in our traditional technologies moves at a much slower pace than our mobile app-based world and there are physical limitations as a result of this hardwired legacy.
I am—unsurprisingly—in favour of exposing the seams like this.
I’m in New York. Again. This time it’s for Google’s AMP Conf, where I’ll be giving ‘em a piece of my mind on a panel.
The conference starts tomorrow so I’ve had a day or two to acclimatise and explore. Seeing as Google are footing the bill for travel and accommodation, I’m staying at a rather nice hotel close to the conference venue in Tribeca. There’s live jazz in the lounge most evenings, a cinema downstairs, and should I request it, I can even have a goldfish in my room.
Today I realised that my hotel sits in the apex of a triangle of interesting buildings: carrier hotels.
Looming above my hotel is 32 Avenue of the Americas. On the outside the building looks like your classic Gozer the Gozerian style of New York building. Inside, the lobby features a mosaic on the ceiling, and another on the wall extolling the connective power of radio and telephone.
The same architects also designed 60 Hudson Street, which has a similar Art Deco feel to it. Inside, there’s a cavernous hallway running through the ground floor but I can’t show you a picture of it. A security guard told me I couldn’t take any photos inside …which is a little strange seeing as it’s splashed across the website of the building.
I walked around the outside of 60 Hudson, taking more pictures. Another security guard asked me what I was doing. I told her I was interested in the history of the building, which is true; it was the headquarters of Western Union. For much of the twentieth century, it was a world hub of telegraphic communication, in much the same way that a beach hut in Porthcurno was the nexus of the nineteenth century.
For a 21st century hub, there’s the third and final corner of the triangle at 33 Thomas Street. It’s a breathtaking building. It looks like a spaceship from a Chris Foss painting. It was probably designed more like a spacecraft than a traditional building—it’s primary purpose was to withstand an atomic blast. Gone are niceties like windows. Instead there’s an impenetrable monolith that looks like something straight out of a dystopian sci-fi film.
Brutalist on the outside, its interior is host to even more brutal acts of invasive surveillance. The Snowden papers revealed this AT&T building to be a centrepiece of the Titanpointe programme:
They called it Project X. It was an unusually audacious, highly sensitive assignment: to build a massive skyscraper, capable of withstanding an atomic blast, in the middle of New York City. It would have no windows, 29 floors with three basement levels, and enough food to last 1,500 people two weeks in the event of a catastrophe.
But the building’s primary purpose would not be to protect humans from toxic radiation amid nuclear war. Rather, the fortified skyscraper would safeguard powerful computers, cables, and switchboards. It would house one of the most important telecommunications hubs in the United States…
Looking at the building, it requires very little imagination to picture it as the lair of villainous activity. Laura Poitras’s short film Project X basically consists of a voiceover of someone reading an NSA manual, some ominous background music, and shots of 33 Thomas Street looming in its oh-so-loomy way.
A top-secret handbook takes viewers on an undercover journey to Titanpointe, the site of a hidden partnership. Narrated by Rami Malek and Michelle Williams, and based on classified NSA documents, Project X reveals the inner workings of a windowless skyscraper in downtown Manhattan.
A wonderful Zooniverse-like project from the New York Public Library:
Help unlock New York City’s past by identifying buildings and other details on beautiful old maps.
A look at the architectural history of the network hubs of New York: 32 Avenue of the Americas and 60 Hudson Street. Directed by Davina Pardo and written by her husband Andrew Blum, author of Tubes: A Journey to the Centre of the Internet.
These buildings were always used as network hubs. It’s just that the old networks were used to house the infrastructure of telephone networks (these were the long line buildings).
In a way, the big server hotel of New York—111 Eight Avenue—was also always used to route packets …it’s just that the packets used to be physical.
Armchair travelling to Ballardian locations.