*AI Summary*
*# *I. Analyze and Adopt**
*Domain:* Industrial Design, Urban Planning, and Design Theory.
*Persona:* Senior Design Strategist & Industrial Designer.
*Vocabulary/Tone:* Technical, systemic, objective, and analytical. I will focus on the intersection of human factors, regulatory frameworks, and industrial scalability.
---
### *II. Abstract*
This analysis deconstructs the systemic drivers behind modern aesthetics, challenging the popular narrative that contemporary "ugliness" is merely the result of lazy design or corporate greed. The discourse identifies a complex ecosystem of stakeholders—including regulatory bodies, lawyers, and risk-averse policymakers—who exert more influence over final forms than the designers themselves. Through a critical lens, the material examines the transition from Victorian-era ornamentation to modern functionalism, arguing that current design priorities have shifted from visible decoration to "invisible" safety and accessibility standards. The transcript further critiques the "nostalgia trap," warning that a return to traditional aesthetics often overlooks the socio-political costs and technical failures of the past. The ultimate thesis posits that true beauty in design is an expression of "care"—a combination of integrity, craftsmanship, and consideration for the user within modern constraints—rather than a choice between historical mimicry and sterile minimalism.
---
### *III. Summary of Design Theory: The Systems Behind Aesthetics*
* *0:00 The Park Bench Ecosystem:* The design of a simple object like a park bench is dictated by a multi-stakeholder system. Accessibility laws determine dimensions; environmental factors dictate material choice; and conflicting social interests (senior citizens vs. shop owners) lead to "exclusionary design" elements like armrests to prevent sleeping.
* *1:15 Procurement and Public Scrutiny:* High manufacturing costs ($5,000 per bench) and public backlash create a culture of risk aversion. Designers must navigate an ecosystem of geography, politics, and government regulations, leading to a world "designed by the most terrified person in the room."
* *3:01 Ornament vs. Infrastructure:* Using the Victorian Crossness Pumping Station as an example, the analysis argues that ornamentation was often used as propaganda for empire. Modern infrastructure, while less decorated, prioritizes "invisible beauty"—safety systems that prevent accidents, such as exploding toilets or electrical fires, which were common in the Victorian era.
* *4:34 The Regulatory Library:* Modern designs must comply with exhaustive libraries of codes (fire egress, earthquake loads, slip resistance, etc.). Contemporary designers often do more work than their predecessors; however, the effort is redirected into risk mitigation rather than surface-level aesthetics.
* *6:16 Convenience and Standardization:* To provide housing and amenities to billions at industrial speed, designers utilize pre-fabricated structures and concrete panels. "Convenience" is the byproduct of running a society like a mass-market retailer, favoring industrial repeatability over artisanal masonry.
* *7:38 The Safest Design is a Copy:* Due to the high cost of innovation and the risk of regulatory failure, the system rewards copying proven, previously approved designs. This leads to a loss of regional "visual flavor" (e.g., Rome looking like Rome) in favor of globalized, compliant aesthetics.
* *9:48 Case Study: The "Bangle Butt" BMW:* The redesign of the BMW 7 Series trunk was driven by technical requirements (larger radiators and aerodynamics) rather than pure aesthetics. The resulting public mockery illustrates how the culture punishes designers who attempt visual innovation within rigid compliance frameworks.
* *12:22 The Trap of Superficial Decoration:* "Slapping" $50 plastic moldings or gold paint onto cheap systems (e.g., recent White House renovations or McMansions) does not create beauty. Beauty is defined as "integrity"—the intentional use of materials, proportions, and craftsmanship.
* *14:32 Minimalist Beauty through Light:* Minimalist design, when not used for cost-cutting, can express beauty through "quiet curiosity." A Seattle church is cited where intentional shadows and shifting light patterns create a metaphor for faith, proving that modern constraints still allow for deep consideration.
* *16:16 The Nostalgia Trap and Survivorship Bias:* We idealize the past because we see only the beautiful objects that survived, forgetting the "slums" and "horseshit-covered streets." "Ugly" often simply means "recent," as even Gothic architecture was once considered barbaric.
* *18:11 The Inseparability of Design and Politics:* Aesthetic movements are never neutral. From federal executive orders favoring classical styles to government website accessibility, every design choice reflects a worldview, power structure, and value system.
* *21:24 Case Study: Poundbury:* While King Charles’s town of Poundbury successfully implements walkable, mixed-income zoning, its traditional aesthetic is enforced by a "master planner" and king. This approach sacrifices affordability and individual agency for a staged, "eerie" facade.
* *24:51 Key Takeaway: Beauty is Care:* The only "un-fakeable" ingredient in design is care. Beauty is achieved when ordinary objects are treated as if they matter because the people who use them matter. The modern goal should be demanding care within current responsibilities, rather than romanticizing an incoherent past.
AI-generated summary created with gemini-3-flash-preview for free via RocketRecap-dot-com. (Input: 26,411 tokens, Output: 1,119 tokens, Est. cost: $0.0166).
Below, I will provide input for an example video (comprising of title, description, and transcript, in this order) and the corresponding abstract and summary I expect. Afterward, I will provide a new transcript that I want a summarization in the same format.
**Please give an abstract of the transcript and then summarize the transcript in a self-contained bullet list format.** Include starting timestamps, important details and key takeaways.
Example Input:
Fluidigm Polaris Part 2- illuminator and camera
mikeselectricstuff
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5,857 views Aug 26, 2024
Fluidigm Polaris part 1 : • Fluidigm Polaris (Part 1) - Biotech g...
Ebay listings: https://www.ebay.co.uk/usr/mikeselect...
Merch https://mikeselectricstuff.creator-sp...
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mikeselectricstuff
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40 Comments
@robertwatsonbath
6 hours ago
Thanks Mike. Ooof! - with the level of bodgery going on around 15:48 I think shame would have made me do a board re spin, out of my own pocket if I had to.
1
Reply
@Muonium1
9 hours ago
The green LED looks different from the others and uses phosphor conversion because of the "green gap" problem where green InGaN emitters suffer efficiency droop at high currents. Phosphide based emitters don't start becoming efficient until around 600nm so also can't be used for high power green emitters. See the paper and plot by Matthias Auf der Maur in his 2015 paper on alloy fluctuations in InGaN as the cause of reduced external quantum efficiency at longer (green) wavelengths.
4
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1 reply
@tafsirnahian669
10 hours ago (edited)
Can this be used as an astrophotography camera?
Reply
mikeselectricstuff
·
1 reply
@mikeselectricstuff
6 hours ago
Yes, but may need a shutter to avoid light during readout
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@2010craggy
11 hours ago
Narrowband filters we use in Astronomy (Astrophotography) are sided- they work best passing light in one direction so I guess the arrows on the filter frames indicate which way round to install them in the filter wheel.
1
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@vitukz
12 hours ago
A mate with Channel @extractions&ire could use it
2
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@RobertGallop
19 hours ago
That LED module says it can go up to 28 amps!!! 21 amps for 100%. You should see what it does at 20 amps!
Reply
@Prophes0r
19 hours ago
I had an "Oh SHIT!" moment when I realized that the weird trapezoidal shape of that light guide was for keystone correction of the light source.
Very clever.
6
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@OneBiOzZ
20 hours ago
given the cost of the CCD you think they could have run another PCB for it
9
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@tekvax01
21 hours ago
$20 thousand dollars per minute of run time!
1
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@tekvax01
22 hours ago
"We spared no expense!" John Hammond Jurassic Park.
*(that's why this thing costs the same as a 50-seat Greyhound Bus coach!)
Reply
@florianf4257
22 hours ago
The smearing on the image could be due to the fact that you don't use a shutter, so you see brighter stripes under bright areas of the image as you still iluminate these pixels while the sensor data ist shifted out towards the top. I experienced this effect back at university with a LN-Cooled CCD for Spectroscopy. The stripes disapeared as soon as you used the shutter instead of disabling it in the open position (but fokussing at 100ms integration time and continuous readout with a focal plane shutter isn't much fun).
12
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mikeselectricstuff
·
1 reply
@mikeselectricstuff
12 hours ago
I didn't think of that, but makes sense
2
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@douro20
22 hours ago (edited)
The red LED reminds me of one from Roithner Lasertechnik. I have a Symbol 2D scanner which uses two very bright LEDs from that company, one red and one red-orange. The red-orange is behind a lens which focuses it into an extremely narrow beam.
1
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@RicoElectrico
23 hours ago
PFG is Pulse Flush Gate according to the datasheet.
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@dcallan812
23 hours ago
Very interesting. 2x
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@littleboot_
1 day ago
Cool interesting device
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@dav1dbone
1 day ago
I've stripped large projectors, looks similar, wonder if some of those castings are a magnesium alloy?
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@kevywevvy8833
1 day ago
ironic that some of those Phlatlight modules are used in some of the cheapest disco lights.
1
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1 reply
@bill6255
1 day ago
Great vid - gets right into subject in title, its packed with information, wraps up quickly. Should get a YT award! imho
3
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@JAKOB1977
1 day ago (edited)
The whole sensor module incl. a 5 grand 50mpix sensor for 49 £.. highest bid atm
Though also a limited CCD sensor, but for the right buyer its a steal at these relative low sums.
Architecture Full Frame CCD (Square Pixels)
Total Number of Pixels 8304 (H) × 6220 (V) = 51.6 Mp
Number of Effective Pixels 8208 (H) × 6164 (V) = 50.5 Mp
Number of Active Pixels 8176 (H) × 6132 (V) = 50.1 Mp
Pixel Size 6.0 m (H) × 6.0 m (V)
Active Image Size 49.1 mm (H) × 36.8 mm (V)
61.3 mm (Diagonal),
645 1.1x Optical Format
Aspect Ratio 4:3
Horizontal Outputs 4
Saturation Signal 40.3 ke−
Output Sensitivity 31 V/e−
Quantum Efficiency
KAF−50100−CAA
KAF−50100−AAA
KAF−50100−ABA (with Lens)
22%, 22%, 16% (Peak R, G, B)
25%
62%
Read Noise (f = 18 MHz) 12.5 e−
Dark Signal (T = 60°C) 42 pA/cm2
Dark Current Doubling Temperature 5.7°C
Dynamic Range (f = 18 MHz) 70.2 dB
Estimated Linear Dynamic Range
(f = 18 MHz)
69.3 dB
Charge Transfer Efficiency
Horizontal
Vertical
0.999995
0.999999
Blooming Protection
(4 ms Exposure Time)
800X Saturation Exposure
Maximum Date Rate 18 MHz
Package Ceramic PGA
Cover Glass MAR Coated, 2 Sides or
Clear Glass
Features
• TRUESENSE Transparent Gate Electrode
for High Sensitivity
• Ultra-High Resolution
• Board Dynamic Range
• Low Noise Architecture
• Large Active Imaging Area
Applications
• Digitization
• Mapping/Aerial
• Photography
• Scientific
Thx for the tear down Mike, always a joy
Reply
@martinalooksatthings
1 day ago
15:49 that is some great bodging on of caps, they really didn't want to respin that PCB huh
8
Reply
@RhythmGamer
1 day ago
Was depressed today and then a new mike video dropped and now I’m genuinely happy to get my tear down fix
1
Reply
@dine9093
1 day ago (edited)
Did you transfrom into Mr Blobby for a moment there?
2
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@NickNorton
1 day ago
Thanks Mike. Your videos are always interesting.
5
Reply
@KeritechElectronics
1 day ago
Heavy optics indeed... Spare no expense, cost no object. Splendid build quality. The CCD is a thing of beauty!
1
Reply
@YSoreil
1 day ago
The pricing on that sensor is about right, I looked in to these many years ago when they were still in production since it's the only large sensor you could actually buy. Really cool to see one in the wild.
2
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@snik2pl
1 day ago
That leds look like from led projector
Reply
@vincei4252
1 day ago
TDI = Time Domain Integration ?
1
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@wolpumba4099
1 day ago (edited)
Maybe the camera should not be illuminated during readout.
From the datasheet of the sensor (Onsemi): saturation 40300 electrons, read noise 12.5 electrons per pixel @ 18MHz (quite bad). quantum efficiency 62% (if it has micro lenses), frame rate 1 Hz. lateral overflow drain to prevent blooming protects against 800x (factor increases linearly with exposure time) saturation exposure (32e6 electrons per pixel at 4ms exposure time), microlens has +/- 20 degree acceptance angle
i guess it would be good for astrophotography
4
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@txm100
1 day ago (edited)
Babe wake up a new mikeselectricstuff has dropped!
9
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@vincei4252
1 day ago
That looks like a finger-lakes filter wheel, however, for astronomy they'd never use such a large stepper.
1
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@MRooodddvvv
1 day ago
yaaaaay ! more overcomplicated optical stuff !
4
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1 reply
@NoPegs
1 day ago
He lives!
11
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1 reply
Transcript
0:00
so I've stripped all the bits of the
0:01
optical system so basically we've got
0:03
the uh the camera
0:05
itself which is mounted on this uh very
0:09
complex
0:10
adjustment thing which obviously to set
0:13
you the various tilt and uh alignment
0:15
stuff then there's two of these massive
0:18
lenses I've taken one of these apart I
0:20
think there's something like about eight
0:22
or nine Optical elements in here these
0:25
don't seem to do a great deal in terms
0:26
of electr magnification they're obiously
0:28
just about getting the image to where it
0:29
uh where it needs to be just so that
0:33
goes like that then this Optical block I
0:36
originally thought this was made of some
0:37
s crazy heavy material but it's just
0:39
really the sum of all these Optical bits
0:41
are just ridiculously heavy those lenses
0:43
are about 4 kilos each and then there's
0:45
this very heavy very solid um piece that
0:47
goes in the middle and this is so this
0:49
is the filter wheel assembly with a
0:51
hilariously oversized steper
0:53
motor driving this wheel with these very
0:57
large narrow band filters so we've got
1:00
various different shades of uh
1:03
filters there five Al together that
1:06
one's actually just showing up a silver
1:07
that's actually a a red but fairly low
1:10
transmission orangey red blue green
1:15
there's an excess cover on this side so
1:16
the filters can be accessed and changed
1:19
without taking anything else apart even
1:21
this is like ridiculous it's like solid
1:23
aluminium this is just basically a cover
1:25
the actual wavelengths of these are um
1:27
488 525 570 630 and 700 NM not sure what
1:32
the suffix on that perhaps that's the uh
1:34
the width of the spectral line say these
1:37
are very narrow band filters most of
1:39
them are you very little light through
1:41
so it's still very tight narrow band to
1:43
match the um fluoresence of the dies
1:45
they're using in the biochemical process
1:48
and obviously to reject the light that's
1:49
being fired at it from that Illuminator
1:51
box and then there's a there's a second
1:53
one of these lenses then the actual sort
1:55
of samples below that so uh very serious
1:58
amount of very uh chunky heavy Optics
2:01
okay let's take a look at this light
2:02
source made by company Lumen Dynamics
2:04
who are now part of
2:06
excelitas self-contained unit power
2:08
connector USB and this which one of the
2:11
Cable Bundle said was a TTL interface
2:14
USB wasn't used in uh the fluid
2:17
application output here and I think this
2:19
is an input for um light feedback I
2:21
don't if it's regulated or just a measur
2:23
measurement facility and the uh fiber
2:27
assembly
2:29
Square Inlet there and then there's two
2:32
outputs which have uh lens assemblies
2:35
and this small one which goes back into
2:37
that small Port just Loops out of here
2:40
straight back in So on this side we've
2:42
got the electronics which look pretty
2:44
straightforward we've got a bit of power
2:45
supply stuff over here and we've got
2:48
separate drivers for each wavelength now
2:50
interesting this is clearly been very
2:52
specifically made for this application
2:54
you I was half expecting like say some
2:56
generic drivers that could be used for a
2:58
number of different things but actually
3:00
literally specified the exact wavelength
3:02
on the PCB there is provision here for
3:04
385 NM which isn't populated but this is
3:07
clearly been designed very specifically
3:09
so these four drivers look the same but
3:10
then there's two higher power ones for
3:12
575 and
3:14
520 a slightly bigger heat sink on this
3:16
575 section there a p 24 which is
3:20
providing USB interface USB isolator the
3:23
USB interface just presents as a comport
3:26
I did have a quick look but I didn't
3:27
actually get anything sensible um I did
3:29
dump the Pi code out and there's a few
3:31
you a few sort of commands that you
3:32
could see in text but I didn't actually
3:34
manage to get it working properly I
3:36
found some software for related version
3:38
but it didn't seem to want to talk to it
3:39
but um I say that wasn't used for the
3:41
original application it might be quite
3:42
interesting to get try and get the Run
3:44
hours count out of it and the TTL
3:46
interface looks fairly straightforward
3:48
we've got positions for six opto
3:50
isolators but only five five are
3:52
installed so that corresponds with the
3:54
unused thing so I think this hopefully
3:56
should be as simple as just providing a
3:57
ttrl signal for each color to uh enable
4:00
it a big heat sink here which is there I
4:03
think there's like a big S of metal
4:04
plate through the middle of this that
4:05
all the leads are mounted on the other
4:07
side so this is heat sinking it with a
4:09
air flow from a uh just a fan in here
4:13
obviously don't have the air flow
4:14
anywhere near the Optics so conduction
4:17
cool through to this plate that's then
4:18
uh air cooled got some pots which are
4:21
presumably power
4:22
adjustments okay let's take a look at
4:24
the other side which is uh much more
4:27
interesting see we've got some uh very
4:31
uh neatly Twisted cable assemblies there
4:35
a bunch of leads so we've got one here
4:37
475 up here 430 NM 630 575 and 520
4:44
filters and dcro mirrors a quick way to
4:48
see what's white is if we just shine
4:49
some white light through
4:51
here not sure how it is is to see on the
4:54
camera but shining white light we do
4:55
actually get a bit of red a bit of blue
4:57
some yellow here so the obstacle path
5:00
575 it goes sort of here bounces off
5:03
this mirror and goes out the 520 goes
5:07
sort of down here across here and up
5:09
there 630 goes basically straight
5:13
through
5:15
430 goes across there down there along
5:17
there and the 475 goes down here and
5:20
left this is the light sensing thing
5:22
think here there's just a um I think
5:24
there a photo diode or other sensor
5:26
haven't actually taken that off and
5:28
everything's fixed down to this chunk of
5:31
aluminium which acts as the heat
5:32
spreader that then conducts the heat to
5:33
the back side for the heat
5:35
sink and the actual lead packages all
5:38
look fairly similar except for this one
5:41
on the 575 which looks quite a bit more
5:44
substantial big spay
5:46
Terminals and the interface for this
5:48
turned out to be extremely simple it's
5:50
literally a 5V TTL level to enable each
5:54
color doesn't seem to be any tensity
5:56
control but there are some additional
5:58
pins on that connector that weren't used
5:59
in the through time thing so maybe
6:01
there's some extra lines that control
6:02
that I couldn't find any data on this uh
6:05
unit and the um their current product
6:07
range is quite significantly different
6:09
so we've got the uh blue these
6:13
might may well be saturating the camera
6:16
so they might look a bit weird so that's
6:17
the 430
6:18
blue the 575
6:24
yellow uh
6:26
475 light blue
6:29
the uh 520
6:31
green and the uh 630 red now one
6:36
interesting thing I noticed for the
6:39
575 it's actually it's actually using a
6:42
white lead and then filtering it rather
6:44
than using all the other ones are using
6:46
leads which are the fundamental colors
6:47
but uh this is actually doing white and
6:50
it's a combination of this filter and
6:52
the dichroic mirrors that are turning to
6:55
Yellow if we take the filter out and a
6:57
lot of the a lot of the um blue content
7:00
is going this way the red is going
7:02
straight through these two mirrors so
7:05
this is clearly not reflecting much of
7:08
that so we end up with the yellow coming
7:10
out of uh out of there which is a fairly
7:14
light yellow color which you don't
7:16
really see from high intensity leads so
7:19
that's clearly why they've used the
7:20
white to uh do this power consumption of
7:23
the white is pretty high so going up to
7:25
about 2 and 1 half amps on that color
7:27
whereas most of the other colors are
7:28
only drawing half an amp or so at 24
7:30
volts the uh the green is up to about
7:32
1.2 but say this thing is uh much
7:35
brighter and if you actually run all the
7:38
colors at the same time you get a fairly
7:41
reasonable um looking white coming out
7:43
of it and one thing you might just be
7:45
out to notice is there is some sort
7:46
color banding around here that's not
7:49
getting uh everything s completely
7:51
concentric and I think that's where this
7:53
fiber optic thing comes
7:58
in I'll
8:00
get a couple of Fairly accurately shaped
8:04
very sort of uniform color and looking
8:06
at What's um inside here we've basically
8:09
just got this Square Rod so this is
8:12
clearly yeah the lights just bouncing
8:13
off all the all the various sides to um
8:16
get a nice uniform illumination uh this
8:19
back bit looks like it's all potted so
8:21
nothing I really do to get in there I
8:24
think this is fiber so I have come
8:26
across um cables like this which are
8:27
liquid fill but just looking through the
8:30
end of this it's probably a bit hard to
8:31
see it does look like there fiber ends
8:34
going going on there and so there's this
8:36
feedback thing which is just obviously
8:39
compensating for the any light losses
8:41
through here to get an accurate
8:43
representation of uh the light that's
8:45
been launched out of these two
8:47
fibers and you see uh
8:49
these have got this sort of trapezium
8:54
shape light guides again it's like a
8:56
sort of acrylic or glass light guide
9:00
guess projected just to make the right
9:03
rectangular
9:04
shape and look at this Center assembly
9:07
um the light output doesn't uh change
9:10
whether you feed this in or not so it's
9:11
clear not doing any internal Clos Loop
9:14
control obviously there may well be some
9:16
facility for it to do that but it's not
9:17
being used in this
9:19
application and so this output just
9:21
produces a voltage on the uh outle
9:24
connector proportional to the amount of
9:26
light that's present so there's a little
9:28
diffuser in the back there
9:30
and then there's just some kind of uh
9:33
Optical sensor looks like a
9:35
chip looking at the lead it's a very
9:37
small package on the PCB with this lens
9:40
assembly over the top and these look
9:43
like they're actually on a copper
9:44
Metalized PCB for maximum thermal
9:47
performance and yeah it's a very small
9:49
package looks like it's a ceramic
9:51
package and there's a thermister there
9:53
for temperature monitoring this is the
9:56
475 blue one this is the 520 need to
9:59
Green which is uh rather different OB
10:02
it's a much bigger D with lots of bond
10:04
wise but also this looks like it's using
10:05
a phosphor if I shine a blue light at it
10:08
lights up green so this is actually a
10:10
phosphor conversion green lead which
10:12
I've I've come across before they want
10:15
that specific wavelength so they may be
10:17
easier to tune a phosphor than tune the
10:20
um semiconductor material to get the uh
10:23
right right wavelength from the lead
10:24
directly uh red 630 similar size to the
10:28
blue one or does seem to have a uh a
10:31
lens on top of it there is a sort of red
10:33
coloring to
10:35
the die but that doesn't appear to be
10:38
fluorescent as far as I can
10:39
tell and the white one again a little
10:41
bit different sort of much higher
10:43
current
10:46
connectors a makeer name on that
10:48
connector flot light not sure if that's
10:52
the connector or the lead
10:54
itself and obviously with the phosphor
10:56
and I'd imagine that phosphor may well
10:58
be tuned to get the maximum to the uh 5
11:01
cenm and actually this white one looks
11:04
like a St fairly standard product I just
11:06
found it in Mouse made by luminous
11:09
devices in fact actually I think all
11:11
these are based on various luminous
11:13
devices modules and they're you take
11:17
looks like they taking the nearest
11:18
wavelength and then just using these
11:19
filters to clean it up to get a precise
11:22
uh spectral line out of it so quite a
11:25
nice neat and um extreme
11:30
bright light source uh sure I've got any
11:33
particular use for it so I think this
11:35
might end up on
11:36
eBay but uh very pretty to look out and
11:40
without the uh risk of burning your eyes
11:43
out like you do with lasers so I thought
11:45
it would be interesting to try and
11:46
figure out the runtime of this things
11:48
like this we usually keep some sort
11:49
record of runtime cuz leads degrade over
11:51
time I couldn't get any software to work
11:52
through the USB face but then had a
11:54
thought probably going to be writing the
11:55
runtime periodically to the e s prom so
11:58
I just just scope up that and noticed it
12:00
was doing right every 5 minutes so I
12:02
just ran it for a while periodically
12:04
reading the E squ I just held the pick
12:05
in in reset and um put clip over to read
12:07
the square prom and found it was writing
12:10
one location per color every 5 minutes
12:12
so if one color was on it would write
12:14
that location every 5 minutes and just
12:16
increment it by one so after doing a few
12:18
tests with different colors of different
12:19
time periods it looked extremely
12:21
straightforward it's like a four bite
12:22
count for each color looking at the
12:24
original data that was in it all the
12:26
colors apart from Green were reading
12:28
zero and the green was reading four
12:30
indicating a total 20 minutes run time
12:32
ever if it was turned on run for a short
12:34
time then turned off that might not have
12:36
been counted but even so indicates this
12:37
thing wasn't used a great deal the whole
12:40
s process of doing a run can be several
12:42
hours but it'll only be doing probably
12:43
the Imaging at the end of that so you
12:46
wouldn't expect to be running for a long
12:47
time but say a single color for 20
12:50
minutes over its whole lifetime does
12:52
seem a little bit on the low side okay
12:55
let's look at the camera un fortunately
12:57
I managed to not record any sound when I
12:58
did this it's also a couple of months
13:00
ago so there's going to be a few details
13:02
that I've forgotten so I'm just going to
13:04
dub this over the original footage so um
13:07
take the lid off see this massive great
13:10
heat sink so this is a pel cool camera
13:12
we've got this blower fan producing a
13:14
fair amount of air flow through
13:16
it the connector here there's the ccds
13:19
mounted on the board on the
13:24
right this unplugs so we've got a bit of
13:27
power supply stuff on here
13:29
USB interface I think that's the Cyprus
13:32
microcontroller High speeded USB
13:34
interface there's a zyink spon fpga some
13:40
RAM and there's a couple of ATD
13:42
converters can't quite read what those
13:45
those are but anal
13:47
devices um little bit of bodgery around
13:51
here extra decoupling obviously they
13:53
have having some noise issues this is
13:55
around the ram chip quite a lot of extra
13:57
capacitors been added there
13:59
uh there's a couple of amplifiers prior
14:01
to the HD converter buffers or Andor
14:05
amplifiers taking the CCD
14:08
signal um bit more power spy stuff here
14:11
this is probably all to do with
14:12
generating the various CCD bias voltages
14:14
they uh need quite a lot of exotic
14:18
voltages next board down is just a
14:20
shield and an interconnect
14:24
boardly shielding the power supply stuff
14:26
from some the more sensitive an log
14:28
stuff
14:31
and this is the bottom board which is
14:32
just all power supply
14:34
stuff as you can see tons of capacitors
14:37
or Transformer in
14:42
there and this is the CCD which is a uh
14:47
very impressive thing this is a kf50 100
14:50
originally by true sense then codec
14:53
there ON
14:54
Semiconductor it's 50 megapixels uh the
14:58
only price I could find was this one
15:00
5,000 bucks and the architecture you can
15:03
see there actually two separate halves
15:04
which explains the Dual AZ converters
15:06
and two amplifiers it's literally split
15:08
down the middle and duplicated so it's
15:10
outputting two streams in parallel just
15:13
to keep the bandwidth sensible and it's
15:15
got this amazing um diffraction effects
15:18
it's got micro lenses over the pixel so
15:20
there's there's a bit more Optics going
15:22
on than on a normal
15:25
sensor few more bodges on the CCD board
15:28
including this wire which isn't really
15:29
tacked down very well which is a bit uh
15:32
bit of a mess quite a few bits around
15:34
this board where they've uh tacked
15:36
various bits on which is not super
15:38
impressive looks like CCD drivers on the
15:40
left with those 3 ohm um damping
15:43
resistors on the
15:47
output get a few more little bodges
15:50
around here some of
15:52
the and there's this separator the
15:54
silica gel to keep the moisture down but
15:56
there's this separator that actually
15:58
appears to be cut from piece of
15:59
antistatic
16:04
bag and this sort of thermal block on
16:06
top of this stack of three pel Cola
16:12
modules so as with any Stacks they get
16:16
um larger as they go back towards the
16:18
heat sink because each P's got to not
16:20
only take the heat from the previous but
16:21
also the waste heat which is quite
16:27
significant you see a little temperature
16:29
sensor here that copper block which
16:32
makes contact with the back of the
16:37
CCD and this's the back of the
16:40
pelas this then contacts the heat sink
16:44
on the uh rear there a few thermal pads
16:46
as well for some of the other power
16:47
components on this
16:51
PCB okay I've connected this uh camera
16:54
up I found some drivers on the disc that
16:56
seem to work under Windows 7 couldn't
16:58
get to install under Windows 11 though
17:01
um in the absence of any sort of lens or
17:03
being bothered to the proper amount I've
17:04
just put some f over it and put a little
17:06
pin in there to make a pinhole lens and
17:08
software gives a few options I'm not
17:11
entirely sure what all these are there's
17:12
obviously a clock frequency 22 MHz low
17:15
gain and with PFG no idea what that is
17:19
something something game programmable
17:20
Something game perhaps ver exposure
17:23
types I think focus is just like a
17:25
continuous grab until you tell it to
17:27
stop not entirely sure all these options
17:30
are obviously exposure time uh triggers
17:33
there ex external hardware trigger inut
17:35
you just trigger using a um thing on
17:37
screen so the resolution is 8176 by
17:40
6132 and you can actually bin those
17:42
where you combine multiple pixels to get
17:46
increased gain at the expense of lower
17:48
resolution down this is a 10sec exposure
17:51
obviously of the pin hole it's very uh
17:53
intensitive so we just stand still now
17:56
downloading it there's the uh exposure
17:59
so when it's
18:01
um there's a little status thing down
18:03
here so that tells you the um exposure
18:07
[Applause]
18:09
time it's this is just it
18:15
downloading um it is quite I'm seeing
18:18
quite a lot like smearing I think that I
18:20
don't know whether that's just due to
18:21
pixels overloading or something else I
18:24
mean yeah it's not it's not um out of
18:26
the question that there's something not
18:27
totally right about this camera
18:28
certainly was bodge wise on there um I
18:31
don't I'd imagine a camera like this
18:32
it's got a fairly narrow range of
18:34
intensities that it's happy with I'm not
18:36
going to spend a great deal of time on
18:38
this if you're interested in this camera
18:40
maybe for astronomy or something and
18:42
happy to sort of take the risk of it may
18:44
not be uh perfect I'll um I think I'll
18:47
stick this on eBay along with the
18:48
Illuminator I'll put a link down in the
18:50
description to the listing take your
18:52
chances to grab a bargain so for example
18:54
here we see this vertical streaking so
18:56
I'm not sure how normal that is this is
18:58
on fairly bright scene looking out the
19:02
window if I cut the exposure time down
19:04
on that it's now 1 second
19:07
exposure again most of the image
19:09
disappears again this is looks like it's
19:11
possibly over still overloading here go
19:14
that go down to say say quarter a
19:16
second so again I think there might be
19:19
some Auto gain control going on here um
19:21
this is with the PFG option let's try
19:23
turning that off and see what
19:25
happens so I'm not sure this is actually
19:27
more streaking or which just it's
19:29
cranked up the gain all the dis display
19:31
gray scale to show what um you know the
19:33
range of things that it's captured
19:36
there's one of one of 12 things in the
19:38
software there's um you can see of you
19:40
can't seem to read out the temperature
19:42
of the pelta cooler but you can set the
19:44
temperature and if you said it's a
19:46
different temperature you see the power
19:48
consumption jump up running the cooler
19:50
to get the temperature you requested but
19:52
I can't see anything anywhere that tells
19:54
you whether the cool is at the at the
19:56
temperature other than the power
19:57
consumption going down and there's no
19:59
temperature read out
20:03
here and just some yeah this is just
20:05
sort of very basic software I'm sure
20:07
there's like an API for more
20:09
sophisticated
20:10
applications but so if you know anything
20:12
more about these cameras please um stick
20:14
in the
20:15
comments um incidentally when I was
20:18
editing I didn't notice there was a bent
20:19
pin on the um CCD but I did fix that
20:22
before doing these tests and also
20:24
reactivated the um silica gel desicant
20:26
cuz I noticed it was uh I was getting
20:28
bit of condensation on the window but um
20:31
yeah so a couple of uh interesting but
20:34
maybe not particularly uh useful pieces
20:37
of Kit except for someone that's got a
20:38
very specific use so um I'll stick a
20:42
I'll stick these on eBay put a link in
20:44
the description and say hopefully
20:45
someone could actually make some uh good
20:47
use of these things
Example Output:
**Abstract:**
This video presents Part 2 of a teardown focusing on the optical components of a Fluidigm Polaris biotechnology instrument, specifically the multi-wavelength illuminator and the high-resolution CCD camera.
The Lumen Dynamics illuminator unit is examined in detail, revealing its construction using multiple high-power LEDs (430nm, 475nm, 520nm, 575nm, 630nm) combined via dichroic mirrors and filters. A square fiber optic rod is used to homogenize the light. A notable finding is the use of a phosphor-converted white LED filtered to achieve the 575nm output. The unit features simple TTL activation for each color, conduction cooling, and internal homogenization optics. Analysis of its EEPROM suggests extremely low operational runtime.
The camera module teardown showcases a 50 Megapixel ON Semiconductor KAF-50100 CCD sensor with micro-lenses, cooled by a multi-stage Peltier stack. The control electronics include an FPGA and a USB interface. Significant post-manufacturing modifications ("bodges") are observed on the camera's circuit boards. Basic functional testing using vendor software and a pinhole lens confirms image capture but reveals prominent vertical streaking artifacts, the cause of which remains uncertain (potential overload, readout artifact, or fault).
**Exploring the Fluidigm Polaris: A Detailed Look at its High-End Optics and Camera System**
* **0:00 High-End Optics:** The system utilizes heavy, high-quality lenses and mirrors for precise imaging, weighing around 4 kilos each.
* **0:49 Narrow Band Filters:** A filter wheel with five narrow band filters (488, 525, 570, 630, and 700 nm) ensures accurate fluorescence detection and rejection of excitation light.
* **2:01 Customizable Illumination:** The Lumen Dynamics light source offers five individually controllable LED wavelengths (430, 475, 520, 575, 630 nm) with varying power outputs. The 575nm yellow LED is uniquely achieved using a white LED with filtering.
* **3:45 TTL Control:** The light source is controlled via a simple TTL interface, enabling easy on/off switching for each LED color.
* **12:55 Sophisticated Camera:** The system includes a 50-megapixel Kodak KAI-50100 CCD camera with a Peltier cooling system for reduced noise.
* **14:54 High-Speed Data Transfer:** The camera features dual analog-to-digital converters to manage the high data throughput of the 50-megapixel sensor, which is effectively two 25-megapixel sensors operating in parallel.
* **18:11 Possible Issues:** The video creator noted some potential issues with the camera, including image smearing.
* **18:11 Limited Dynamic Range:** The camera's sensor has a limited dynamic range, making it potentially challenging to capture scenes with a wide range of brightness levels.
* **11:45 Low Runtime:** Internal data suggests the system has seen minimal usage, with only 20 minutes of recorded runtime for the green LED.
* **20:38 Availability on eBay:** Both the illuminator and camera are expected to be listed for sale on eBay.
Here is the real transcript. What would be a good group of people to review this topic? Please summarize provide a summary like they would:
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The People Who Secretly Decide How Everything Looks
Design Theory
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Feb 4, 2026
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All content directed, written and (partially) edited by John Mauriello. John Mauriello has been working professionally as an industrial designer since 2010. He is a former adjunct professor at California College of the Arts.
Everyone's been complaining about how ugly the modern world looks. They say corporations are greedy, designers are lazy, minimalism destroys beauty, convenience destroyed culture...you’ve heard all of it. They're not totally wrong, but they're all blaming the wrong things and they're ignoring the people who quietly decide how almost everything around you is allowed to look.
Design Theory explores the hidden forces shaping everyday aesthetics. From park benches to political monuments, the video examines how regulations and societal values influence design choices. Discover the surprising factors that dictate what's considered beautiful, and the often-unseen work involved.
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Design Theory
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98 Comments
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Pinned by @Design.Theory
@Design.Theory
14 hours ago
Download AnyDesk for free today using my link: https://Anydesk.com/DesignTheory
3
Reply
1 reply
@shintaroariyama8965
52 minutes ago (edited)
the conclusion was beautifully expressed. there are many yt channels like the aesthetic city that bothers me bc of how his conclussion is to stop looking forward since there are proven results of the past...
i truly believe there is a beauty humanity has'nt achieve, thats why we cant stop looking forward...but maybe the answer is closer than we imagine
15
Reply
@RoboticDragonRider
1 hour ago
€2.00
With this channel you educated us more than any money could pay for. Thank you a lot, we value your wisdom.
12
Reply
·
1 reply
@harris3967
37 minutes ago (edited)
I have always felt this intuitively but never able to articulate it. Now i can say it clearly, Beauty is caring
7
Reply
@HungryHungryB
36 minutes ago (edited)
I clicked due to seeing the streetlight thumbnail, but because I didnt click on it right when I first saw the video pop up, you may see a 0.001 bump in people clicking on the building thumbnail instead.
I must correct my wrongs. The lamp thumbnail is superior.
4
Reply
@csr7080
1 hour ago
I actually really like that second building at the start.
3
Reply
@karabenomar
34 minutes ago
What a wonderful video that puts a lot of things into context, thank you!
I would like to mention survivorship bias that distorts our view of the past. We preserve beautiful and well-crafted objects of the past precisely because they are amazing. The ugly rest is gone. Broken, demolished, thrown away. So we're left with a cathedral-like sewage station to remind us of the Victorian era, but where are the dirty, shabby, rotten slums that were much more representative of that time? They're gone because they were literally too horrible to keep around.
6
Reply
@charlesblithfield6182
38 minutes ago
Brilliant commentary and analysis. I studied to be an urban planner in a Masters program. One day a fellow student, during a presentation in a planning process class, lit a regulation document on fire then dropped it in a waste basket then held up a small mirror which he pivoted toward our shocked faces. He left the mirror on a table then walked out of the presentation and was never seen again. Another student attempted self deletion and a different prof in a class on urban design also did the dropping of documents on a trash can for dramatic effect. To say we were disillusioned is an understatement. I had visions of an ultra efficient park like beautiful city free of cars with much of the built environment semi buried or earth sheltered because of the stressed climate conditions here in Canada. My professors laughed at my presentations and told me to focus on more practical things like why bridge infrastructure was on a collision course with underfunding of its maintenance and other such mundane realities. Instead I focussed on how corrupt the planning and approval process really was, how developers actually were the planners and how family and business connections were the most important determinants of what was built. I never became a planner.
3
Reply
@sopranottt
1 hour ago
Strong first 3 seconds
5
Reply
@skjelm6363
1 hour ago
Best part of the Victorian time was the color green.
It took care of all the problems at its root.
5
Reply
2 replies
@ivanmatveyev13
54 minutes ago
I can recommend Mark Fisher - Capitalist Realism on this topic.
2
Reply
@generalhades4518
32 minutes ago
that was a wonderful message you ended this on, and fully agree with the sentement!
1
Reply
@DrPepperone
33 minutes ago
That video you critiqued here was really quite shallow. Really good job in gracefully and thoroughly touching a lot of themes that were not being said.
1
Reply
@sealfCherries2
45 minutes ago
the answer to that video made by that mate is here from creativity
1
Reply
@Connor_Roush
53 minutes ago
It’s everything that adopts “modern” aesthetic. That are a mistake and a huge blight in our society.
1
Reply
@ivanmatveyev13
1 hour ago
6:16 Yes
1
Reply
@thorstenscherber4826
22 minutes ago
daymn ... rlly broadened my perspective on this ...
thx
Reply
@SadeN_0
6 minutes ago
Perfectly put, once again. Great points. Thank you.
Reply
@catherinedesrochers
20 minutes ago
This video in one word : Relevant
Reply
@rivenmotors7981
13 minutes ago
Very insightful discussion, thanks for more food for thought
Reply
Transcript
0:00
Why did we go from this
0:02
to this?
0:04
Everyone's been complaining about how
0:06
ugly the modern world looks, including
0:08
me. They say corporations are greedy,
0:10
designers are lazy, minimalism destroys
0:13
beauty, convenience destroyed culture.
0:15
You've heard all of it. And they're not
0:17
totally wrong, but they're all blaming
0:19
the wrong things. And they're ignoring
0:21
the people who quietly decide how almost
0:24
everything around you is allowed to
0:26
look. And they're not designers. Here's
0:29
an example. You're designing a park
0:31
bench. Simple enough, right? Nope.
0:33
First, it has to pass accessibility laws
0:35
or else it won't get built. So, the
0:37
dimensions change to suit that. Then,
0:39
reality hits. Placement. The bench faces
0:42
the south side of the street directly in
0:45
the sun. Those beautiful cast iron
0:47
armrests will get hot as a frying pan in
0:49
summer and cold as ice in winter. Then
0:51
you meet the stakeholders. Senior
0:53
citizens want a place to sit, but shop
0:55
owners don't want people loitering, so
0:57
they don't want the bench to be too
0:58
comfortable. Everyone wants the bench to
1:00
serve them and not the people that they
1:02
don't like. Then you get to the worst
1:04
part, politics. The city council is
1:06
getting non-stop complaints about people
1:08
sleeping on the old benches. You add an
1:10
armrest so nobody can lay down on it,
1:12
and suddenly you're designing for
1:13
exclusion. After all that comes the
1:15
really hard part, manufacturing. In
1:18
order for the client to approve this
1:20
design, you need to prove that it can
1:21
survive the heat, rain, graffiti, and
1:24
some drunk guy dropkicking it at 2 in
1:26
the morning. And it's got to be easy to
1:27
fix if it breaks, too. By this point,
1:29
you're not even proud of your design
1:31
anymore. The manufacturer gets back to
1:33
you and they tell you it's going to cost
1:35
$5,000
1:37
per bench. The press gets word of this
1:39
and everyone on social media loses their
1:41
minds. You're flooded with comments
1:43
saying things like, "My tax dollars are
1:45
paying for this. This is corruption. Who
1:48
would ever approve such an ugly design?
1:50
And that's how the simple brief of make
1:52
a nice park bench turns into a system
1:54
where nobody is happy, especially the
1:57
designer. And by the way, this is not
1:58
exaggerated. San Francisco went through
2:00
a very public version of this exact
2:02
spiral with a trash can redesign. When
2:05
you design anything, you're navigating
2:07
an ecosystem of government regulations,
2:09
geography, politics, procurement, and
2:12
public scrutiny. and it's why we live in
2:14
a world designed by the most terrified
2:16
person in the room. A lot of people sent
2:18
me this video, why the world got so
2:20
ugly, and I wanted to respond to it. I
2:22
actually talked to this guy and he seems
2:24
like a really decent person. So, don't
2:26
bombard him with mean comments or
2:27
anything like that. Let's just focus on
2:29
the ideas. But here's his framing. These
2:31
two lamposts don't just look different.
2:35
They represent fundamentally different
2:37
world views.
2:39
If you want to understand any society,
2:42
don't listen to what it says about
2:44
itself,
2:45
look at what it creates. Very true.
2:54
Objects do reveal what we believe in,
2:56
but what he's missing is that they
2:58
reveal systems and power. Also, his next
3:01
example is perfect. This insanely ornate
3:03
Victorian sewage station. Strange to
3:06
think that this is infrastructure
3:09
and yet it has been designed with the
3:12
same ornamental exuberance
3:15
as any church or palace. That is how the
3:18
Victorians thought. It's a great shot
3:20
and it's a great story. So I get why it
3:23
lands. But the problem is he's treating
3:25
ornament as proof of care. Sometimes
3:27
decoration signals craft and beauty.
3:29
Other times it's just Las Vegas
3:31
tackiness. And you have to remember
3:32
during the Victorian era, there are
3:34
reports of bathrooms literally exploding
3:37
from flammable gases seeping up from the
3:39
sewer system. Our modern sewers aren't
3:41
as decorated, but its beauty is in the
3:43
fact that your toilet doesn't blow up
3:45
while you're pooping. So, yes, you can
3:47
learn a lot about what a society values
3:49
based on what they design, but you need
3:51
to dig beyond the superficial
3:53
decoration. That old sewage station
3:55
functioned as propaganda. It's what the
3:57
Victorians wanted you to see. It doesn't
3:59
show the way that most people actually
4:01
lived during that time. It's sort of
4:03
like an old car. Old cars can be a lot
4:05
of fun. The roaring engine, the smell of
4:07
gasoline, the lack of power steering is
4:09
actually kind of a fun novelty, but the
4:11
charm wears off really fast when you're
4:14
about to get t-boned by a truck. I want
4:16
modern brakes and crash safety standards
4:18
so I have a better chance of surviving
4:20
that collision. People from the
4:22
Victorian era would happily trade their
4:24
horses for our cars or their heavily
4:26
decorated sewer system for a modern one
4:28
that reliably doesn't kill them. The
4:30
Victorian sewer would never work with
4:32
today's demands and requirements.
4:34
These days, it seems that we would
4:36
rather make more money to make things
4:38
look pretty.
4:39
Look, I get why this lands. It's
4:41
emotionally satisfying, but it's not
4:43
telling the whole story. You can't just
4:44
build a modern version of a heavily
4:46
decorated Victorian sewer. It wouldn't
4:48
pass modern safety standards. And
4:50
believe me, it's a long list. Earthquake
4:52
loads, fire egress, electrical code,
4:54
ventilation, lighting, accessibility,
4:56
slip resistance, handrail heights,
4:57
emergency shut offs. The list just goes
4:59
on and on and on. Modern engineers and
5:01
designers are not doing less than their
5:03
Victorian counterparts while greedily
5:05
hoarding profits. They're doing more
5:07
actually. It's just that most of the
5:09
work is invisible. The beauty in modern
5:12
design is that you don't notice it
5:14
because you didn't suffocate or get
5:15
electrocuted or catch on fire. This is
5:18
one set of regulatory requirements for
5:21
one category for one country. And that's
5:24
just electrical. There are entire
5:26
libraries like this for dozens of other
5:29
things. Some of this is bureaucratic BS,
5:32
but a lot of it exists for good reason,
5:34
which leads to the real aesthetic driver
5:36
of the modern world, reducing risk. And
5:40
this is why the world is designed by the
5:41
most terrified person in the room. It's
5:43
that person's job to prevent failure of
5:45
the whole system. Now, to be fair, there
5:47
are some cases where you can slap
5:49
traditional styling onto modern systems,
5:52
but it usually just feels off. More on
5:54
that later, though. But anyway, he goes
5:55
on to say this, that we have become a
5:58
society of convenience above all else.
6:01
I agree with this. It is true that we
6:03
prioritize cost and convenience as a
6:05
society. I've been complaining about
6:07
this for years. Convenience,
6:09
convenience, convenient, convenient,
6:10
convenient, convenient, convenience.
6:13
But is that because we're obsessed with
6:14
convenience and we're lazy? Is it
6:16
because corporate oligarchs hate us?
6:18
That story feels right, but it's
6:21
incomplete. The job for contemporary
6:23
designers has been to provide modern
6:24
amenities to billions of people.
6:27
Housing, appliances, electronics. This
6:30
needs to happen at an insane industrial
6:33
speed without accidentally killing
6:35
people or collapsing the economy. you
6:37
end up with systems that can be
6:38
manufactured, installed, and maintained
6:41
over and over again. Convenience is what
6:43
happens when you try to run a country
6:45
like a Costco. So to do that, designers
6:47
and architects began to use
6:49
standardization whenever possible.
6:51
They'll use pre-fabricated structures
6:53
like pre-cast concrete rather than
6:55
hiring skilled stonemasons. If it's
6:58
faster to assemble concrete panels than
7:00
to hire a stonemason, cities will
7:02
eventually contain more concrete panels.
7:05
you get a shift towards industrial
7:07
repeatability. But this isn't because of
7:08
laziness or indifference, at least not
7:11
entirely. You need that repeatability
7:13
because that's what keeps the machine
7:15
running. I'm not saying I agree with
7:16
this, by the way. I I actually hate a
7:18
lot of it. I'm just saying that this is
7:19
one reason why the modern world looks
7:21
the way it does. Policymakers try to
7:24
control this rapid growth by imposing
7:26
safety and regulatory standards. So, as
7:28
a designer, the fastest solution is to
7:30
reference designs that have already been
7:32
approved by regulators and are proven to
7:35
be manufacturable at low costs. Anytime
7:38
you scale something up quickly, it
7:40
invites regulation. Regulation creates
7:42
copying and copying leads to the same
7:44
proven designs being made by everyone
7:46
and applied everywhere. Prior to this,
7:48
designers had no option but to use local
7:50
materials and tools and knowledge. Rome
7:52
looked like Rome. Bali looked like Bali.
7:55
Marrakesh looked like Marrakesh. The
7:57
brutal truth is that in the modern
7:58
world, the safest design is a copied
8:01
design. Why invest millions in designing
8:03
a building or a product only to have it
8:05
become a liability nightmare or miscost
8:07
targets? This is a design style that's
8:09
determined by lawyers and regulators
8:12
just as much as it is by designers. They
8:14
are the people who help decide what the
8:16
system will allow and what it will
8:18
punish. This is why good designers study
8:20
policy and regulations. If you want to
8:22
create something new, you have to
8:24
understand what the system will allow.
8:26
But even if you try something new inside
8:28
those constraints, you might still pay
8:29
for it. So, you have two choices. Get
8:31
mad that the world rewards copying or
8:33
build yourself a workflow that stays
8:35
flexible anyway. That's why I've been
8:36
using Anyesk and why they're sponsoring
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today using my link in the description
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below. Back to the video. Cars started
9:48
getting more puffy in the early 2000s.
9:52
Some of that was aesthetic choice, but a
9:54
lot of it was driven by more strict
9:56
crash and pedestrian safety
9:57
requirements. So, we ended up with these
9:59
inflated cars to protect drivers and
10:01
pedestrians in a collision. In 2001,
10:04
Chris Bangal, the head of design at BMW
10:06
at the time, took a risk with the 7
10:08
series. His team redesigned the trunk to
10:10
have this extra shelf like it got a
10:12
Brazilian buttlft. Bangal told the New
10:14
York Times that a new generation of
10:16
engines required larger radiators, so
10:18
the hood of the car needed to be higher.
10:20
Driver sighteline shifted and
10:22
aerodynamic efficiency demanded the rear
10:24
deck be reshaped in order to improve
10:26
fuel economy. The press immediately
10:29
mocked the design calling it the bangle
10:31
butt. Decades later, car enthusiasts
10:33
still make fun of it. If you want a
10:35
perfect case study in how the world
10:37
punishes deviation, this is it. The
10:39
bangle butt is what happens when a
10:41
designer tries to introduce a new visual
10:43
design inside a world that rewards
10:45
predictable compliance. Even if laws
10:48
don't explicitly punish you for trying
10:50
something different, the culture often
10:52
will. And even when designers aren't
10:54
literally copying, they're using the
10:56
same materials, the same tools, the same
10:58
suppliers, and they're following the
11:00
same regulatory playbook. They're all
11:02
being educated in the same way, too. So,
11:04
it's really not that surprising that
11:06
things start looking the same. Like I
11:08
said, the goal of modernism was to make
11:10
the most important things available
11:11
cheaply for everyone. And in that way,
11:13
it was successful. We lost a lot of
11:16
cultural diversity in that process and I
11:18
do hate that. But it's important to
11:20
understand the reason why this happened
11:22
rather than just saying, "Oh, it's just
11:24
laziness or oh, they're just after
11:25
money." That is directionally true. But
11:28
if we want to fix the ugliness problem,
11:30
we need to understand the whole story.
11:33
It's also important to remember that
11:34
it's not like things were much better
11:35
before. People have always complained
11:37
about their current times being ugly. HL
11:39
Mein said that America had a love of
11:42
ugliness for its own sake. the lust to
11:44
make the world intolerable. He wrote
11:46
that in 1926.
11:48
You probably think he's talking about a
11:50
city that looks like this, but he was
11:52
actually describing this. Now, to be
11:53
fair, this was a coal mining town, so
11:55
I'm sure there were some really horrible
11:57
working conditions and other awful
11:58
things going on. But at least when it
12:00
comes to the architecture today, we'd
12:02
call this kind of charming. So, that's
12:04
the first trap. Ugly often just means
12:07
recent. In a 100 years time, many of the
12:09
ugly designs of today might be viewed
12:10
with nostalgic admiration, but we'll
12:13
come back to that later. Next up is a
12:14
second trap that everyone reaches for.
12:16
Decoration is so much cheaper than every
12:19
other part of a building, right? Just
12:20
got to stick some pretty stuff on the
12:22
front of it.
12:22
Slapping some decoration on top of a
12:24
careless system won't make it beautiful.
12:27
Trump's interior design team learned
12:28
this the hard way. They took some
12:30
filigree molding and put it in the Oval
12:32
Office. Things went really off the rails
12:34
when it was discovered that a bunch of
12:35
it was actually $50 mass-produced
12:38
plastic pieces that anyone can buy at
12:39
Home Depot. And I'm pretty sure they
12:41
just spray painted it all gold. Like I
12:43
said, the objects we make are a
12:45
reflection of our culture. Beauty is
12:46
integrity. It's about intentional
12:48
materials, proportions, craftsmanship,
12:50
and a story you can feel even if you
12:52
can't quite articulate it. When a design
12:54
is rushed and cheap, decoration can
12:56
actually feel tacky because it
12:58
highlights the mismatch. The reason why
13:00
we love old things is because they have
13:02
a story and a heritage. It's not really
13:05
about decoration. Plus, even purely
13:07
decorative elements have functional
13:09
consequences. You have to think about
13:11
how it's going to be fabricated, how
13:12
it's going to be assembled, what it
13:14
conveys, and who will design it. And
13:16
these are extremely energyintensive
13:18
processes with very dangerous factory
13:20
working conditions. It's only cheap if
13:21
you ignore who has to pay for it. And
13:23
then there's the expense of eternal
13:25
maintenance. Every facade detail
13:27
requires repainting, repair, and
13:29
replacement. When infrastructure has to
13:31
operate continuously at massive scale
13:34
with minimal failure, decoration becomes
13:36
a liability. I absolutely hate a lot of
13:39
things about this system, but slapping
13:41
decoration on things doesn't make the
13:42
design better. There are solutions, but
13:45
this is not it. It's not even true that
13:47
there's no decoration in modern design.
13:49
Some of the most decorative designs we
13:50
make today are also the most hated. For
13:52
example, McMansions. They're basically
13:54
the housing equivalent of fast food.
13:57
It's got huge portion sizes made with
13:59
cheap ingredients and lots of flash
14:01
trying to convince you it's something
14:02
that it isn't. They've got design
14:03
elements from completely different
14:05
unrelated time periods and cultures. And
14:07
they're all thoughtlessly just mashed
14:09
together. If a design doesn't consider
14:11
the broader cultural context, it just
14:13
feels confused and incoherent. It's like
14:15
putting a tail fin from a 1950s Cadillac
14:17
onto a modern Cadillac Escalade. The old
14:20
tail fin is beautiful in its own
14:21
context, but it's from a different time
14:23
period. You can't just transplant a
14:25
style and expect it to resonate in
14:27
today's world. But there are other ways
14:29
to express beauty aside from excessive
14:31
decoration. Check out this church in
14:32
Seattle. It's an ultra minimalist design
14:34
that honestly wasn't really my style at
14:36
first glance. But then a priest pointed
14:38
out a beautiful detail to me. At the
14:40
right time of year, during the right
14:42
time of day, with enough sunlight, you
14:44
see some absolutely stunning shadows
14:46
cast onto the sparsely decorated walls.
14:48
You get bands of multicolored lights
14:50
that shift and move through the year and
14:52
throughout the day. I'm not particularly
14:54
religious, but it's hard not to read
14:55
that as a metaphor. Faith is something
14:57
that transforms slowly over the years.
15:00
The walls are completely bare, but the
15:02
beauty is showing that quiet
15:03
transformation with light. And this is
15:05
the bigger point for objects, too.
15:07
Sometimes beauty is revealed through
15:08
quiet curiosity. The building isn't
15:10
detailed in the traditional sense, but
15:12
it's deeply considered. It's a clever
15:14
way to create meaning while still
15:16
playing inside modern realities. I
15:18
generally hate minimalist design when
15:19
it's done as a way to thoughtlessly cut
15:22
costs, which is pretty common. But I do
15:24
appreciate this church because it's a
15:26
clever way to express beauty honestly
15:28
using the cultural context and
15:30
constraints that we actually live inside
15:32
now. We love old things because we're
15:34
mortal. So when we see something old, we
15:37
respect it because we know we'll never
15:39
be able to sustain that time span and
15:41
witness the world that this object has
15:42
seen. We love old things because they
15:45
outlive us. People have been complaining
15:46
about new things being ugly for all of
15:49
recorded history. There was a time when
15:50
Gothic architecture was considered the
15:52
height of barbaric ugliness, but we
15:54
consider it beautiful today. In fact,
15:56
the word Gothic was almost like a slur.
15:59
To call someone's design gothic was
16:01
extremely insulting. It would be like
16:02
someone calling something mid today or
16:04
even worse, chopped. Bro, that cathedral
16:07
is straight chopped. Dude, the bigger
16:09
point is that taste change. And that
16:11
takes us to the real trap in this whole
16:13
conversation. Nostalgia. The reality is
16:16
we heavily idealize the past. When we
16:18
look at a beautiful old lampost, we
16:20
forget about the fact that the streets
16:22
in many Victorian era cities were
16:24
literally covered in a thick layer of
16:26
horseshit. The past fosters depression
16:28
and nostalgia. The future causes
16:30
anxiety, and modern minds seldom have
16:33
the time to really live in the moment.
16:35
So, there's this move to brand the past
16:38
as a more promising future. But, this
16:40
can get really dangerous. This return to
16:43
more traditional aesthetics isn't
16:45
neutral, and it isn't just about style.
16:47
It often smuggles in a whole worldview
16:49
about hierarchy and purity. The
16:51
Victorian era wasn't some morally
16:53
righteous time where everyone took pride
16:55
in beauty. It was a time of rigid class
16:58
systems, brutal labor conditions,
17:00
rampant diseases, extreme wealth
17:03
concentration, all set against a
17:05
backdrop of rapid industrialization and
17:08
political corruption. So when someone
17:10
points at a gorgeous Victorian object
17:12
and says, "See, they cared." It's a
17:14
gross oversimplification. We see the
17:17
beauty, but we forget about the costs. I
17:19
found that as soon as I started writing
17:20
about it, people have all these
17:22
connotations based on whether they think
17:24
they're leftwing or rightwing. People
17:25
think to criticize modernism, right? So
17:28
like modern architecture, to criticize
17:30
that must mean that you're somehow like
17:32
a a traditionalist conservative, even a
17:35
fascist. And then people also think if
17:36
you defend bond architecture, the
17:38
conservatives think you're like a
17:39
radical socialist or a communist. And
17:42
all of this is is is it's complete
17:45
nonsense. It's just not true. I want to
17:48
demolish these misguided political
17:51
associations around around the issue and
17:53
establish a consensus. I actually agree
17:55
with the spirit of that. I think the
17:57
party labels can do more harm than good.
17:59
But here's the problem. You cannot take
18:02
politics out of design. And I can prove
18:04
it to you right now. What does this
18:05
building represent to you? What about
18:07
this one? And what about this monument?
18:09
What about this uniform? This symbol?
18:11
These designed objects all present an
18:14
explicitly political point of view. They
18:16
all exist in a cultural context and they
18:19
are not neutral. Whether we recognize it
18:21
or not, every major political movement
18:24
has an aesthetic. Even fonts project a
18:27
certain idea or image. Whether
18:29
intentional or not, political movements
18:31
end up with a shared visual language
18:33
that tells you what the movement values
18:35
and who it's for. Every major political
18:37
ideology presents an aesthetic point of
18:39
view. Every single one. In the US, there
18:43
have been actual executive orders to
18:45
steer federal architecture towards
18:47
classical styles. And look, I get it.
18:49
Public buildings should be carefully
18:51
designed, but making federal
18:53
architecture beautiful again makes me
18:54
wonder, beautiful according to who? The
18:57
real conversation is less about
18:58
traditional versus modern and more about
19:00
who should have the power to decide what
19:02
good design is. We need to be careful
19:04
about that because this isn't just
19:06
grandiose monuments either. Design is
19:08
political even on a smaller scale and in
19:10
more subtle ways. If you're designing a
19:12
government website, you don't get to
19:14
just use nice colors. You have to hit
19:16
accessibility requirements for people
19:17
with vision impairment. If you're
19:19
designing a lamp, you need components
19:20
that meet legal safety standards so it
19:23
doesn't burn someone's house down. Even
19:24
when designers aren't trying to make a
19:26
political statement, the system forces a
19:28
point of view through laws and policy.
19:31
The Cross Nest Sewer Station was
19:32
designed with the exuberant
19:34
ornamentation of a cathedral because its
19:36
makers were saying, "Look how advanced
19:38
and powerful we are with our cuttingedge
19:40
technological marvels. It was designed
19:43
to show the power of the mighty British
19:45
Empire. All political movements do this
19:47
to varying degrees." So this story that
19:50
we used to build cathedrals and now we
19:51
build sterile boxes is very myopic. Once
19:54
you frame the past as pure and beautiful
19:57
and the present as degenerate and ugly,
19:59
you've created a doorway for some very
20:01
ignorant ideologies. In the harmless
20:03
version, it's just decorating lamposts
20:05
and sewers. That's fine. But in the
20:07
toxic version, it discusses a need to
20:09
return to tradition and order. These
20:12
images of traditionalist iconography are
20:14
appropriated by far-right political
20:16
factions in order to further their
20:18
worldview. They talk about returning to
20:20
the glory of a romanticized and
20:22
incoherent version of the past. They'll
20:24
say that the degeneracy of modern life
20:26
is rotting western civilization while
20:29
ignoring the insane injustices of the
20:31
past. And this ideology often comes
20:33
packaged with a very specific idea of
20:36
who belongs in that return and who
20:38
doesn't. Now, I want to be very clear
20:40
here. I talked to Shien Quirk, the guy
20:42
in that video. I really don't think he's
20:44
some kind of far-right fascist. And
20:46
liking traditional architecture doesn't
20:48
make you one either. I like a lot of
20:50
traditional architecture. Obviously,
20:52
that's ridiculous. I'm also not saying
20:54
that every video about ugly minimalist
20:56
design is secretly fascist propaganda. I
20:59
personally have criticized minimalism
21:01
and convenience culture for years now.
21:03
The point is that aesthetic debates are
21:05
never just about aesthetics. They're
21:08
arguments about what we value and who
21:10
has the power. If you ignore this
21:12
system, you'll keep misdiagnosing the
21:14
problem. So, we should be careful about
21:16
the story we tell alongside traditional
21:19
beauty because these stories don't just
21:21
stop at design. A few people I've spoken
21:24
to about this have brought up the town
21:25
of Poundbury. It's a modern town that's
21:27
built with a traditional aesthetic. And
21:29
honestly, there are a lot of things I
21:31
really like about this place. There are
21:33
serious attempts to mix zoning where
21:35
shops are blended with houses. This
21:37
allows for people to run into each other
21:39
more often and form communities and
21:41
friendships organically. A large portion
21:42
of the houses are reserved for people
21:44
with lower income, and they mix that
21:46
housing with the rest of the town, so
21:48
those people aren't ostracized and
21:50
isolated like they would be in other
21:52
low-income housing projects. I also
21:54
really like that there's a sincere
21:55
effort to make the town more walkable.
21:57
But the thing is, none of those positive
21:59
aspects require a traditional aesthetic.
22:01
The same things could be achieved with
22:02
good city planning and better zoning
22:04
laws and just designing something
22:06
thoughtfully. Plus, there are other
22:07
major problems with this approach. The
22:09
design is backed by the King of England
22:11
and enforced by a master planner with
22:13
very strict design codes. Everything
22:16
from the color of front doors to the
22:17
materials of gutters has to be approved.
22:20
I wouldn't say it's ugly, but everything
22:21
feels slightly eerie and staged.
22:25
Traditional facades are built over
22:26
modern building codes, so the
22:28
proportions often look a little bit
22:30
strange, almost like the McMansions I
22:32
showed you before. One thing you'll hear
22:33
is that the houses in Poundbury tend to
22:35
appreciate in value faster than other
22:37
more modern designs. But once again, I
22:39
think a lot of that has to do with the
22:40
city planning. And even if it is purely
22:43
about the traditional aesthetics, you
22:45
can't get it at scale without paying for
22:47
it somewhere. In this case, you
22:48
sacrifice affordability, speed, and who
22:50
gets to decide the style. Do we want a
22:52
king and some master planner deciding
22:54
what your town is allowed to look like
22:56
down to the color of your gutters? I
22:59
personally don't. But really, the deeper
23:01
issue with nostalgic design is that it
23:03
offers yesterday's answers to today's
23:06
problems. We can look to the past for
23:08
inspiration, but we can never really go
23:10
back. We can't ignore safety, labor
23:13
inequality, disability access, or the
23:15
reality that we're all connected to each
23:17
other in a way that our ancestors could
23:19
conveniently ignore. Modern life creates
23:21
modern responsibilities and the new
23:23
world has to carry that weight. You'll
23:25
often hear people say that modernity is
23:27
ripping apart the fabric of society. And
23:30
honestly, they're not wrong. As Alfred
23:32
North Whitehead put it, the major
23:33
advances in civilization are processes
23:36
that all but wreck the societies in
23:38
which they occur. He said that a 100
23:40
years ago, so this is nothing new. The
23:42
fear of advancement has been going on
23:44
since the dawn of civilization. We cling
23:46
to the old world because it feels
23:48
familiar and safe. But every major
23:50
technological jump does two things at
23:52
once. It moves society and culture
23:54
forward, but it also uproots and
23:56
destroys the old ways of doing things.
23:59
The solution isn't to go backwards. The
24:01
solution is to honor our past and learn
24:03
from it so we can find a way to move
24:06
forward. A lot of this return to
24:08
tradition is comforting and emotionally
24:10
satisfying because it gives you a clear
24:12
story. We used to be coherent and
24:14
beautiful. Now we're chaotic and ugly.
24:16
In the medium is the message Marshall
24:18
McLuhan wrote. Innumerable confusions
24:20
and a profound feeling of despair
24:22
invariably emerge in periods of great
24:25
technological and cultural transitions.
24:27
Our age of anxiety is in great part the
24:31
result of trying to do today's job with
24:33
yesterday's concepts. McLuhan wrote this
24:36
in 1967 but this is one truth that has
24:39
remained constant even today. We have to
24:42
be suspicious of any story that says the
24:44
answer is to simply go backwards. We can
24:46
never go back. All we can do is build
24:48
something new out of the wreckage. So
24:51
what makes something beautiful? It has
24:52
nothing to do with decoration or
24:54
tradition. It's about care. Care is the
24:57
only ingredient you can't fake. You
24:59
can't mandate it with a checklist. You
25:02
can't value engineer it into existence.
25:04
You can't find it copying an old facade.
25:06
Care is the decision to treat the
25:09
ordinary objects in our lives as if they
25:11
matter because the people who use them
25:14
do. You don't always see care. Sometimes
25:16
care looks like a handcarved stone
25:18
sculpture. Other times it looks like a
25:20
boring handrail that quietly guides you
25:22
down a subway station staircase. If you
25:25
take the time to slow down and look for
25:27
it, you can feel the human spirit inside
25:30
these objects that surround us. And I
25:32
think that's what all of this arguing is
25:34
really about. When people say the world
25:36
is ugly, half the time what they mean is
25:39
the world feels indifferent, like
25:41
nobody's steering, like nothing is
25:43
loved. We're surrounded by decisions
25:45
made by people who will never have to
25:47
live with them. I think what we all
25:49
really want is a world where more things
25:51
are made with the quiet message, you
25:53
matter enough for me to try. So, if you
25:55
take one thing from this video, let it
25:57
be that. Don't romanticize the past.
26:00
Don't demonize the present. Just demand
26:03
care.
26:05
These videos take hundreds of hours to
26:07
make. I read a thousand pages of
26:08
articles and books. I talk to industry
26:11
experts. and I reflect on my 15 years of
26:13
experience in the design industry. I
26:15
care very deeply about the things that I
26:18
discuss here. And if you do too, you
26:20
might consider supporting me on Patreon.
26:22
You can sign up for a few dollars a
26:24
month. And as a show of thanks, you get
26:26
early access to my videos, plus a
26:28
behind-the-scenes commentary video. I
26:30
want to give a huge shout out to my
26:32
patrons on Patreon. I sincerely
26:34
appreciate your support. I couldn't do
26:36
this without you. I hope you learned
26:38
something and have a great day.