Tuesday, February 26, 2013
Sunday, February 24, 2013
"The situation is complex and uncertain, and there is a problem of finding the problem."
The heading of this post is the title of an essay by Donald A. Schön, in his book The Reflective Practitioner: How Professionals Think in Action (1983). At the center of that chapter is the story of a student (Petra) and professor (Quist), as they talk about Petra's design ideas for an elementary school on a hillside setting. In his analysis of the exchange, Schön talks about how the problem is framed (and reframed), about the early "what if" (try something) moe, followed by the later "musts" that a selected "what if" entails.
"Each move is a local experiment which contributes to the global experiment of reframing the problem." (p94)
"The designer's moves yield systems of implications." (99)
Schön discusses the role of language in the exchange, also the situation's "back-talk" as one moves through — and reflects on — actions.
We also read pages 88-90 of Schön's conclusion ("What can be learned from the experience of the architectural studio") in his The Design Studio: An Exploration of its Traditions and Potentials (1985).
We are joined on Monday morning by film maker David Gatten, who will show three films (probably The Secret History of the Dividing Line (detail above, 20 minutes), The Great Art of Knowing (37 minutes) and Moxon's Mechanik Exercises, or The Doctrine of Handy-works Applied to the Art of Printing (26 minutes). We'll be discussing stories, finding stories in the material (that sort of thing).
It is my hope (and expectation) that the Schön reading (and our discussion thereof) and David's films (and our discussion thereof!) will feed into our thinking about design practice, theory, history and, specifically, that they will help and/or encourage us with the experiment I assigned orally in class:
- a prospectus, eight frames (squares, pages, but needn't be thought of as a book, necessarily, and could certainly be a website)
- presenting selected material from Cramsie (chapters 10 The Style of the Street and 10 The Simple Art of War), possibly mixed with material of your own, or from other sources, that gives an "experiential" sense of moving through space in an exhibition.
- select some images, or theme, could even be a detail (matches at page 166, but also pp14-15, or "lines" — same pages, but also cuneiform...) that you want to argue something about.
- you may extend out beyond these chapters, within and beyond Cramsie. it is interesting that he discusses the technologies of design (specifically, of printing) far less in these two chapters, than elsewhere in his book. why?
- the panels are not so much "helps" to move through an exhibition, but rather a suggestion of how that would feel, of the experience. something large (a detail enlarged), followed by something else (and so sequence matters, scale matters).
This exercise/experiment needs time to evolve. It may move to other areas of Cramsie, periods we've not yet touched on.
We are reflecting on the connection of practice (which tends to be messy), with history (which tends to smooth over the rough edges, and to have little to do with the immediacy of design practice), and with theory.
We are interested in modes of working, in the dark, sometimes; and with design as conversation.
Thursday, February 14, 2013
The Style of the Street
"The previous ad hoc process of sticking posters to an available flat surface was replaced by a more organized and systematic approach, with special hoardings being erected by contractors who, in some instances, provided framed areas almost as though the posters were paintings." 149
"By making the edges of his [Chèret] posters diffuse or bare, viewers were in no doubt as to where they should focus their attention." 150
Re: Coca Cola logo - It was interesting how Cramsie talks about the breakdown of the way the letters are written and how we don't notice that the two c's in 'coca' are written differently than the c and the l in 'cola' because we are so use to it and it is so engrained in our culture. I had never noticed that myself.
"[European] prints were collected and discussed with a seriousness that had previously been the preserve of paintings, and this elevated status was carried over to posters created by home-grown designers." 156
"Posters were signed by their designers for the same reason that a painting was marked by the artist, not just to show who made them, but also to increase the picture's appeal and thus its commercial value." 157
"The potential this [hand made] gave designers to construct highly personal and idiosyncratic style allowed some of the very best of them to acquire a level of fame and recognition that exceeded that of even the best-known painters. The gallery of the street provided the former with an audience that was denied to the latter." 157
"By applying a concertedly unified graphic style in this way Hoffmann created one of the very earliest examples of corporate identity design or branding." 161
- This whole concept and how he came up with it using squares to influence everything is very interesting, especially the logos for their own names (Josef Hoffmann and Koloman Moser).
The Simple Art of War
"Instead of using swirling and decorative patterns to surprise and delight the viewer, the posters displayed stark arrangements of simple graphic images and minimal typography."163
Interesting that many of these posters are so opposite of the Art Nouveau, using bold graphic colors in large shapes with little detail and mostly cut out of paper.
-"In an era when mechanized, street-bound forms of transport were becoming popular - the bicycle, the tram and the car - a less elaborate poster could be decoded more quickly. It was possible for the more mobile masses to 'read' the pictures and texts at a glance." 163
"...a maximum effect can often be achieved by an economy of means." 166
-Re: Prieseter poster
Fig 11.11 Flags and roundels
"It seems to have favoured only certain vessels in particular situations rather than all ships equally."
Wednesday, February 13, 2013
In Relation to Loos:
When I was thinking about this project I wanted to choice objects that most americans own and that are typically "generic" in form. I first decided to reflect upon house keys. For the most part house keys look the same. Granted under closer inspection all house keys are different but for the most part they are void of any extra decoration and ornamentation. I thought about how these very generic forms can be used to open doors or locks to a wide variety of homes or other locked things. For instance a poor man can have the same key design as a rich man in a mansion. For keys it is typically what the door opens that defines the person rather than the key itself.
By induced accident, stumbled upon a scientific lithograph by Scharf — described in three tumblr posts, the last here. Follow the links. London, design, infrastructure is a long way from the long extinct Hybodus basanus, but I make no apologies. Will discuss in class.
Assembling an Ikea furnishing is like assembling a sentence, one article or noun or connective at a time. Some rooms have Ikea written all over them. What's made invisible?
In the IDEO reading — David Kelley, Design Adopts Technology — "He started his design consulting business in Silicon Valley in 1978, when the engineers and entrepreneurs were so focused on chips, printed circuits and software... David saw the opportunity to integrate the human design disciplines of industrial design, human factors, and interaction design with the technical disciplines of mechanical, electrical and production engineering." (Bill Moggridge, Designing Interactions (2007) : 301
IDEO / IKEA.
Wednesday, February 6, 2013
A lecture-based survey on materials and methods of construction as they relate to structural design. The course provides an overview of contemporary building technology and theory. State-of-the-art technology is introduced through the use of high quality contemporary case studies. Prerequisite: ARCH165 Survey of Architecture II and ARCH175 Design Principles II. Corequisite: ARCH245 Architecture Design and Technology I.
A studio-based design course that explores the issues presented in ARCH238 Materials and Methods I lectures in a series of design problems of increasing complexity and length, and through discussions in weekly seminars. Prerequisite: ARCH165 Survey of Architecture II, ARCH175 Design Principles II. Corequisite: ARCH235 Materials and Methods I and HUMN150 Art and Theory. Please refer to the Design Studio Grade Requirement regarding the final grade for this course.
A lecture-based survey on materials and methods of construction as they relate to systems design. The course provides an overview of contemporary building technology and theory. State-of-the-art technology and sustainability are introduced through the use of high quality contemporary case studies. Prerequisite: ARCH245 Architecture Design and Technology I and ARCH235 Materials and Methods I. Corequisite: ARCH345 Architecture Design and Technology II.
from Punch 79 (October 30, 1880) p194 and here.
- Adolf Loos. "Ornament and Crime" (1908), in Adolf Loos, Ornament and Crime: Selected Essays (Riverside CA: Ariadne Press, 1998).
- Hal Foster. "Hey, that’s me," a review of Bruce Mau’s Life Style (Phaidon, 2000), in the London Review of Books 23:7 (5 April 2001): 13-14; and later reprinted as "Design and Crime" in Foster’s collection of essays (same title, Verso, 2002).
Tuesday, February 5, 2013
Sunday, February 3, 2013
The art of deception! Conveniently relevant.
Using mainstream media to portray how the happy images, the happy tunes you hear aren't so happy.
Image: (500) Days of summer
Lyric: Hey Ya- Outkast
Lyric: Beautiful Girls- Sean Kingston