Friday, November 26, 2010

Collaborative Consumption

What would life be like if you didn’t have to actually own the stuff you use everyday?

Rachel Botsman and Roo Rogers’ book What’s Mine is Yours: the Rise of Collabortive Consumption explores companies who are trying to provide just that.  Imagine the Netflix business model applied to everything from apartments to cars to lawnmowers, and that’s what they’re talking about. It sounds like a great way to save money, time, and the resources that go into making stuff that sits unused for most of its life in our garages and closets.  But, it requires a fundamental shift in thinking from valuing the ownership of the things in our lives to valuing the utility they give us.  Do we want the powerdrill or do we want the holes that the drill makes?

Some examples:

Airbnb is a site that coordinates travellers with people wanting to rent out anything from couch for the night to a villa for a month.  There are rating systems so that you can rest easy knowing that your host probably isn’t an axe murderer.

Zipcar is a service that allows you to reserve a car any time of the day or night for as little as an hour.

Freecycle coordinates people who have things to get rid of with people who want them.  Their tagline:  “There’s no such thing as waste, just useful stuff in the wrong place”.

TechShop is a series of  workshops on steriods -- they have the space, advice, and tools that any tinkerer would want but few could afford.  Monthly fees give you access to half a million dollars worth of equipment.

Swap.com matches you up with people who have books, CDs, and DVDs you want while coordinating others who want the ones you have.


Now lest anyone gather their pitchforks, burning torches, and mobs and start screaming ‘Socialism!’, let me assure you the collaborative consumption model doesn’t involve government ownership or intervention.  It is a way of organizing group behavior that preserves the individual’s autonomy and freedom, perhaps even more so than our current economic model (credit card debt from the garage full of stuff, anyone?).

There is a high degree of trust required with consuming collaboratively, and hence mechanisms like eBay’s user ratings system have emerged.  In fact, trust between strangers is one of the four principles of successfully collaboratively consuming.  The three others include critical mass (enough people participating to make it work), belief in the commons (the more people that participate, the better it is for everyone), and idling capacity (the stuff being shared needs to be sitting ‘idle’ enough with a single user).

I foresee two major resistances to the collaborative model.

First, companies that make products (cars, toasters, iPods, etc) have built many of their core competencies around the production, marketing, and distribution of that stuff rather than the re-distribution and maintenance of it.  I expect a large resistance from manufacturers as they are asked to profit not from producing and selling but from organizing and redistributing products.  We are, after all, known as ‘consumers’ rather than ‘users’ (or even ‘people’).  Consumers consume things, after all; in the Collaborative Consumption model, we might better be described as ‘sharers’.  It will require a fundamental shift in the corporate DNA of many companies to address this change, from selling the product to selling the function it provides.

Second, many of the profitable business models now using collaborative consumption rely heavily on the internet and its related infrastructures.  Should access to that infrastructure be disrupted or inhibited (by cost, natural disaster, or Godzilla) the geographically dispersed collaborative communities cease to function.

Botsman and Rodgers contend that ‘ . . . the more space and time we spend dedicated to accumulating stuff in our lives, the less room we have for other people.’  With the rise of collaborative consumption, I hope the corrollary is also true.

Friday, November 19, 2010

The Scoop Table -- part 1


There are a few materials that have held my attention for the past 20 years, and plywood is one of them.
Individual sheets of birch plywood

Plywood is really the workhorse of furniture and construction, yet most times it gets covered by a veneer or painted over.  It is the weird old uncle of the wood world, the one everyone likes to have but no one wants to see.

Layers of birch plywood being laminated together

My first explorations into plywood were to make a series of boomerangs – when sanded the plys emerge and make fantastic patterns that visually accent the airfoil shapes needed to make the boomerangs return.  High-end cabinetry often uses birch plywood, which differs from construction-grade plywood in that it has many more sheets laminated together and has virtually no voids from the gluing process.  It is a fantastic material – because of the cutting and orientation of its layers, it expands and contracts very little with the seasons and moisture content of the air.  The grain of each ply is oriented 90 degrees to the last, so it can be ripped on the table saw in any direction without much worry of splitting, and it can be loaded across each axis as well.  In addition, when sanded through the plys, the end-grain alternates and gives the edge a striped pattern.  Why we would want to hide such a fantastic material underneath a veneer I don’t know.

One of my current projects is to make a steel-based table with a carved plywood top.
 
Metal can actually deform significantly when welded, and I take a lot of precautions to insure that it remains in the shape I want it to.  Often times I will tack weld all of the pieces together before giving it the full weld bead, this way it holds itself in proportion as the individual parts want to expand and contract with the heat of the welder.  In this case I even tack welded extra supports for stability on the cantilevered parts that will be removed later.
Tack welds
Full weld beads ground down

Thursday, November 11, 2010

Sunday, November 7, 2010

Trevor Southey


I had the good fortune to meet Trevor Southey and hear a few of his thoughts on art at the Thomas Kearns McCarthey Gallery  in Park City.  For those unfamiliar with Southey’s work, take a look at his website here .

A couple of his thoughts really struck me.  The first:

“A work of art is a conversation between the artist and the viewer, each confessing their sins to the other”

That approach certainly helps me when exploring themes that are emotional and possibly divisive (see a review of the Ammo Table here, which made me realize I missed some very enlightening conversation(s) with people who were frustrated by my work).

Another:

“I have found it very rare that honesty needs to be cruel . . . ”

Art is honest if it is nothing else, and perhaps while cruelty is effective (see Francis Bacon’s portraits of the pope), there may be other approaches that invite conversation.

Trevor’s work will be on exhibit through Dec 13, 2011.





Friday, November 5, 2010

Traveling Benches, part 2


The benches have a fresh coat of paint and I’ve decided on a set of stencils to re-create some of the visual imagery of the original lettering, but with a theme that fits their new purpose.

Next stop: fabric and upholstering.