The Complete Ikea

IkeaA few years ago I read an interview with Saint Bono of the Irish mega-group Bono and the U-2’s in which he justified his then-recent purchase of an exorbitant, fully-furnished new Manhattan apartment — even the silverware and bath towels were waiting at the ready for his family the day they walked in the door for the first time — using this reasoning: when wealthy rock musicians become preoccupied with furnishing their houses, buying table linens, choosing wallpaper, etc. instead of focusing on their craft, they will consequently produce absolutely crap records. By purchasing the house in a ready-to-live state, he hoped to avoid sapping his creative energies with domestic busywork, allowing him to devote his attentions fully to his art instead. And then the band released “How to Dismantle an Atomic Bomb.” Oh well.

I have neither fame nor wealth — nor even an artistic temperament on par with Bono’s, it can be argued. But I do have a relatively new apartment that I’ve been devoting considerable time toward furnishing for the past several weeks. And I can attest, at least, to how thoroughly the act of setting up a new apartment can drain one’s creative energies.

Which is how I found myself in Elizabeth, New Jersey yesterday, trolling the huge showroom full of singularly contemporary and inexpensive furnishings at Ikea, along with a few friends who had also recently moved or will soon move into new apartments.

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Writing at No Great Length

The blog post I wrote yesterday was really hard to write, as it turned out. There were lots of revisions, and I nearly abandoned it once or twice because it kept going on and on and on. In its final form, it clocks in at about four hundred and fifty words. I’m not saying that’s svelte, exactly, but in one earlier draft, I was pushing well past eight hundred words without an end in sight.

I get caught up a lot over-explaining things when I write. It took me several tries to compress that post’s third paragraph, which outlines the basics of my critique of the new elevator system at my work, down to a relatively compact hundred-plus words. At one point, I was detailing my usability complaints in almost excruciating detail — recounting every minutiae of interacting with the system — the prose equivalent of watching a slow motion replay. It was so bad it was tiring even for me to type it, so be glad I didn’t make you read it.

Why do I do this? I blame design. A lot of my job is about creating visual and interactive presentations that accurately and effectively communicate information. In practice, that often calls for simplicity and explicitness, constantly reminding myself that I must go through great lengths to ensure that users understand every component of the experience I’m constructing.

When I transfer that value to writing though, it seems too often to inspire a long-winded, expository style that feels like homework: laborious, plodding, overly careful. Writing should be fun; the more fun it is, the more fun it’ll be to read. Anyway, it goes back to something Jeffrey Zeldman told me once: it’s a lot harder to make something short than it is to make something long.

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Elevator Trek: The Next Generation

Among many modern innovations that we have at the new Times building , we’re using a fancy method of managing elevator ridership. Rather than having riders push a directional button (up or down) take the first elevator car that arrives — which is what practically every other elevator bank in the world does — ours takes a different, more ambitious tack.

At our building, a rider pushes a button on a keypad before getting on an elevator to tell the system what floor she’d like to go to. The system then directs her to a specific car which, in theory, will also carry other riders going to that same floor. The idea is to get riders to their floors faster by ‘batch processing’ them, so to speak, rather than serially processing them.

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