1. If something so universally accepted such as Air-conditioning is considered as Junkspace, isn’t Junkspace a good thing?
2. Koolhaas stated that “forms search for functions like hermit crabs looking for a vacant shell” is this supposed to be a metaphor for objects such as air-conditioning? What’s is the alternative and ideal space that Koolhaas is seeking?
3. If everything he described as Junkspace are true, isn’t the very essence of architecture, by implementing design on the landscape is junkspace as well?
1. If some of today’s most ambitious art is going about trying to make the familiar strange, then what will happen to the art landscape if everything familiar becomes strange? Will it create a cyclical cycle?
2. “A commons belongs to everyone and no one, and its use is controlled only by common consent”, what will happen to the value of our work(s) if everything is accepted as a derivation of something else? Since the value of designers/directors/authors seems to be based in originality of concepts, does the value of our profession go down?
3. “We have to remain constantly vigilant to prevent raids by those who would selfishly exploit our common heritage for their private gain.” It’s easier to recompile words and not be noticeable as opposed to a visual medium, what is the fine line for appropriation here?
I’ve saved up images of forms and shapes (of graphic design) that I liked over the years. I put them in a separate container in order to separate their categories…
1. Is it appropriate to use a collection of things without context, especially to politicize something? Is it responsible to do so when understanding [of the collection] has been replaced by aesthetic experience.
2. Should we look at a collection as its own parts, or try to find the context for the individual pieces in the collection?
3. Does a value of an object / thing increase if it becomes a part of a collection?
1. With tools that requires a steep learning curve such as modern mobile devices, if the users are only using a fraction of the capabilities, should that tool be considered as a “social mediator”?
2. Latour stated that we are using an increased number of “delegates”, with the invention of more tools, does that simply lead to more things? What is the different between an effective an ineffective delegate?
3. If the tool cannot be used based on intuition, should that tool be considered a failure?
I experimented with AIGA symbol signs which can be found http://www.aiga.org/symbol-signs/ and create another rendition of a popular and universally recognized image by tiling up the pictograms.
I took the following paintings from the cubism movement:
Ge0rges Braque, Violin and Candlestick, 1910,
Pablo Picasso, Les Desmoiselles d’Avignon, 1907
Pablo Picasso, Figure dans un Fauteuil (Seated Nude, Femme nue assise), 1909-10,
Paul Cézanne, Quarry Bibémus, 1898-1900
> Crop them into a 4×4 square.
> Cut each pieces
> Shuffle the pieces.
> Recompose them into 16 new 4×4 compositions.
I decided to remove all slogans from WWI and WWII posters to see if are still capable of sending messages.