Coronagrifting: A Design Phenomenon
We now interrupt our regularly scheduled content to bring you a critical essay on the design world. I promise you that this will also be funny.
This morning, the design website Dezeen tweeted a link to one of its articles, depicting a plexiglass coronavirus shield that could be suspended above dining areas, with the caption “Reader comment: ‘Dezeen, please stop promoting this stupidity.’”
This, of course, filled many design people, including myself, with a kind of malicious glee. The tweet seemed to show that the website’s editorial (or at least social media) staff retained within themselves a scintilla of self-awareness regarding the spread a new kind of virus in its own right: cheap mockups of COVID-related design “solutions” filling the endlessly scrollable feeds of PR-beholden design websites such as Dezeen, ArchDaily, and designboom. I call this phenomenon: Coronagrifting.
I’ll go into detail about what I mean by this, but first, I would like to presenet some (highly condensed) history.
From Paper Architecture to PR-chitecture
Back in the headier days of architecture in the 1960s and 70s, a number of architectural avant gardes (such as Superstudio and Archizoom in Italy and Archigram in the UK) ceased producing, well, buildings, in favor of what critics came to regard as “paper architecture.” This “paper architecture” included everything from sprawling diagrams of megastructures, including cities that “walked” or “never stopped” - to playfully erotic collages involving Chicago’s Marina City. Occasionally, these theoretical and aesthetic explorations were accompanied by real-world productions of “anti-design” furniture that may or may not have involved foam fingers.
Archigram’s Walking City (1964). Source.
Paper architecture, of course, still exists, but its original radical, critical, playful, (and, yes, even erotic) elements were shed when the last of the ultra-modernists were swallowed up by the emerging aesthetic hegemony of Postmodernism (which was much less invested in theoretical and aesthetic futurism) in the early 1980s. What remained were merely images, the production and consumption of which has only increased as the design world shifted away from print and towards the rapidly produced, easily digestible content of the internet and social media.
Architect Bjarke Ingels’s “Oceanix” - a mockup of an ecomodernist, luxury city designed in response to rising sea levels from climate change. The city will never be built, and its critical interrogation amounts only to “city with solar panels that floats bc climate change is Serious” - but it did get Ingels and his firm, BIG, a TED talk and circulation on all of the hottest blogs and websites. Meanwhile, Ingels has been in business talks with the right-wing climate change denialist president of Brazil, Jair Bolsonaro. (Image via designboom)
Design websites are increasingly dominated by text and mockups from the desks of a firm’s public relations departments, facilitating a transition from the paper-architecture-imaginary to what I have begun calling “PR-chitecture.” In short, PR-chitecture is architecture and design content that has been dreamed up from scratch to look good on instagram feeds or, more simply, for clicks. It is only within this substance-less, critically lapsed media landscape that Coronagrifting can prosper.
Coronagrifting: An Evolution
As of this writing, the two greatest offenders of Coronagrifting are Dezeen, which has devoted an entire section of its website to the virus (itself offering twelve pages of content since February alone) and designboom, whose coronavirus tag contains no fewer than 159 articles.
Certainly, a small handful of these stories demonstrate useful solutions to COVID-related problems (such as this one from designboom about a student who created a mask prototype that would allow D/deaf and hard of hearing people to read lips) most of the prototypes and the articles about them are, for a lack of a better word, insipid.
But where, you may ask, did it all start?
One of the easiest (and, therefore, one of the earliest) Coronagrifts involves “new innovative, health-centric designs tackling problems at the intersection of wearables and personal mobility,” which is PR-chitecture speak for “body shields and masks.”
The first example came from Chinese architect Sun Dayong, back at the end of February 2020, when the virus was still isolated in China. Dayong submitted to Dezeen a prototype of a full mask and body-shield that “would protect a wearer during a coronavirus outbreak by using UV light to sterilise itself.” The project was titled “Be a Bat Man.” No, I am not making this up.
Screenshot of Dayong’s “Be a Batman” as seen on the Dezeen website.
Soon after, every artist, architect, designer, and sharp-eyed PR rep at firms and companies only tangentially related to design realized that, with the small investment of a Photoshop mockup and some B-minus marketing text, they too could end up on the front page of these websites boasting a large social media following and an air of legitimacy in the field.
By April, companies like Apple and Nike were promising the use of existing facilities for producing or supplying an arms race’s worth of slick-tech face coverings. Starchitecture’s perennial PR-churners like Foster + Partners and Bjarke Ingels were repping “3D-printed face shields”, while other, lesser firms promised wearable vaporware like “grapheme filters,” branded “skincare LED masks for encouraging self-development” and “solar powered bubble shields.”
While the mask Coronagrift continues to this day, the Coronagrifting phenomenon had, by early March, moved to other domains of design.
Consider the barrage of asinine PR fluff that is the “Public Service Announcement” and by Public Service Announcement, I mean “A Designer Has Done Something Cute to Capitalize on Information Meant to Save Lives.”
Some of the earliest offenders include cutesy posters featuring flags in the shape of houses, ostensibly encouraging people to “stay home;” a designer building a pyramid out of pillows ostensibly encouraging people to “stay home”; and Banksy making “lockdown artwork” that involved covering his bathroom in images of rats ostensibly encouraging people to “stay home.”
Lol. Screenshot from Dezeen.
You may be asking, “What’s the harm in all this, really, if it projects a good message?” And the answer is that people are plenty well encouraged to stay home due to the rampant spread of a deadly virus at the urging of the world’s health authorities, and that these tone-deaf art world creeps are using such a crisis for shameless self promotion and the generation of clicks and income, while providing little to no material benefit to those at risk and on the frontlines.
Of course, like the mask coronagrift, the Public Service Announcement coronagrift continues to this very day.
The final iteration of Post-able and Wearable Coronagrifting genres are what I call “Passive Aggressive Social Distancing Initiatives” or PASDIs. Many of the first PASDIs were themselves PSAs and art grifts, my favorite of which being the designboom post titled “social distancing applied to iconic album covers like the beatle’s abbey road.” As you can see, we’re dealing with extremely deep stuff here.
However, an even earlier and, in many ways more prescient and lucrative grift involves “social distancing wearables.” This can easily be summarized by the first example of this phenomenon, published March 19th, 2020 on designboom:
Never wasting a single moment to capitalize on collective despair, all manner of brands have seized on the social distancing wearable trend, which, again, can best be seen in the last example of the phenomenon, published May 22nd, 2020 on designboom:
We truly, truly live in Hell.
Which brings us, of course, to living.
“Architectural Interventions” for a “Post-COVID World”
As soon as it became clear around late March and early April that the coronavirus (and its implications) would be sticking around longer than a few months, the architectural solutions to the problem came pouring in. These, like the virus itself, started at the scale of the individual, to the scale of the city.
The architectural Coronagrift began with accessories (like the designboom article about 3D-printed door-openers that enable one to open a door with one’s elbow, and the Dezeen article about a different 3D-printed door-opener that enables one to open a door with one’s elbow) which, in turn, evolved into “work from home” furniture (”Stykka designs cardboard #StayTheF***Home Desk for people working from home during self-isolation”) which, in turn, evolved into pop-up vaporware architecture for first responders (”opposite office proposes to turn berlin’s brandenburg airport into COVID-19 ‘superhospital'”), which, in turn evolved into proposals for entire buildings (”studio prototype designs prefabricated ‘vital house’ to combat COVID-19″); which, finally, in turn evolved into “urban solutions” aimed at changing the city itself (a great article summarizing and criticizing said urban solutions was recently written by Curbed’s Alissa Walker).
There is something truly chilling about an architecture firm, in order to profit from attention seized by a global pandemic, logging on to their computers, opening photoshop, and drafting up some lazy, ineffectual, unsanitary mockup featuring figures in hazmat suits carrying a dying patient (macabrely set in an unfinished airport construction site) as a real, tangible solution to the problem of overcrowded hospitals; submitting it to their PR desk for copy, and sending it out to blogs and websites for clicks, knowing full well that the sole purpose of doing so consists of the hope that maybe someone with lots of money looking to commission health-related interiors will remember that one time there was a glossy airport hospital rendering on designboom and hire them.
Frankly, after an endless barrage of cyberpunk mask designs, social distancing burger king crowns, foot-triggered crosswalk beg buttons that completely ignore accessibility concerns such as those of wheelchair users, cutesy “stay home uwu” projects from well-to-do art celebrities (who are certainly not suffering too greatly from the economic ramifications of this pandemic), I, like the reader featured in the Dezeen Tweet at the beginning of this post, have simply had enough of this bullshit.
What’s most astounding to me about all of this (but especially about #brand crap like the burger king crowns) is that it is taken completely seriously by design establishments that, despite being under the purview of PR firms, should frankly know better. I’m sure that Bjarke Ingels and Burger King aren’t nearly as affected by the pandemic as those who have lost money, jobs, stability, homes, and even their lives at the hands of COVID-19 and the criminally inept national and international response to it. On the other hand, I’m sure that architects and designers are hard up for cash at a time when nobody is building and buying anything, and, as a result, many see resulting to PR-chitecture as one of the only solutions to financial problems.
However, I’m also extremely sure that there are interventions that can be made at the social, political, and organizational level, such as campaigning for paid sick leave, organizing against layoffs and for decent severance or an expansion of public assistance, or generally fighting the rapidly accelerating encroachment of work into all aspects of everyday life – that would bring much more good and, dare I say, progress into the world than a cardboard desk captioned with the hashtag #StaytheF***Home.
Hence, I’ve spent most of my Saturday penning this article on my blog, McMansion Hell. I’ve chosen to run this here because I myself have lost work as a freelance writer, and the gutting of publications down to a handful of editors means that, were I to publish this story on another platform, it would have resulted in at least a few more weeks worth of inflatable, wearable, plexiglass-laden Coronagrifting, something my sanity simply can no longer withstand.
So please, Dezeen, designboom, others – I love that you keep daily tabs on what architects and designers are up to, a resource myself and other critics and design writers find invaluable – however, I am begging, begging you to start having some discretion with regards to the proposals submitted to you as “news” or “solutions” by brands and firms, and the cynical, ulterior motives behind them. If you’re looking for a guide on how to screen such content, please scroll up to the beginning of this page.
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