Uncreative Design

Prin Limphongpand

Reading Responses / Questions Week 11: Junkspace

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?

Reading Responses / Questions Week 9:The Ecstasy of Influence

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?

Assigments / A7 Collection of images

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…

Reading Responses / Questions Week 8 Counterpoint

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 Is it responsible to do so when understanding [of the collection] has been replaced by aesthetic experience.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?

Reading Responses / Questions for Week 7 How to do Words with Things

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?

Assigments / Week 7 Assignment: Default

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. 

Assigments / Questions Week 6

  1. The word “artist” seems to be more acceptable when one is more concerned about process rather than output. What happens if you replace the “artist” with a “designer”?
  2. If chance is committed in such a rigorous and controlled / pre-determined scope, doesn’t that mean that the environment for that chance to happen is already controlled?
  3. How much chance in Art does the general public value?

Assigments / Week 6 Assignment: Chance

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.

 

Assigments / Assignment 4: Erasing Propaganda

I decided to remove all slogans from WWI and WWII posters to see if are still capable of sending messages.

Reading Responses / Reading Questions Week 5

  1. The profession of graphic design have been in the service industry for a long time, is it possible to gain “authorship” through means other than self-generated and self-referenced work? Does all our work fall under the category of personal work regardless of the client or content?
  2. Why do we shun the role of the designer that work with others to present their content and seem to prefer the designer as an artist model?
  3. Michael Rock’s “Designer As Author” is a rather conservative piece that was written (re-edited, recited, and rehashed many times since), how is it that an essay from 1996 still holds relevancy? Is it a taboo for a designer to not be = designer and able to do something else?