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å October 2014

í Unit 4: Installation & Exhibition

Construct your piece into your space in a way that allows the viewer to navigate themselves through your concepts and ideas. This can be through video, environmental design, installation, and other interventions. Some sections have been asked to place their “Expand” object within the site as a way to help communicate the overall process of arriving at the final piece.

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í Unit 4: Expand

From the selected site, create a piece inspired by that space’s physical and conceptual qualities. This can be as open as your want it to be. For example if you select a stairwell, perhaps an accordion folded book could become the format of your piece.

Due in class next week, Oct. 29

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í Unit 4: Find a site and present research

Research.

Pick a space (inside or out), within the confines of the streets surrounding the Design Center. Introduce the space next week in class as a new site for an installation, exploring its physical qualities and its nature within the site and art school. Larger themes could pop out of this space ( i.e. locker: security, control, boundaries). Make sure you spend time with the space, observe the aspects over time, what is interesting about that site and note everything from sound, scent, light, etc.

A. Diagram/mapping of the space, highlighting the qualities and/or themes you would like to explore.

B. Give a 15 minute presentation of the space and the reasons why you are interested in investigating that particular site.

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Lecture notes

Research question: How can space influence concept and design?

Unit summary: Design has evolved into a broader profession than just a service—design has become all-encompassing, incorporating art, music, sculpture, environmental design and signage.

In Europe, art movements such as Bauhaus and Fluxus both embraced a multi-discplinary approach to the creative fields, combining the fine arts and design under one umbrella. And although craft was the focus in Bauhaus, stressing the importance of designing for mass production, (Art into Industry), these ideas could not come into fruition without strong concepts and voices behind them.

As designers, we are given certain guidelines from a client’s brief to create results that are about functionality, and problem solving for the consumer world. These guidelines pose as challenges, limitations and often feel as though they infringe on our creative process. How can one embrace a certain framework and still satisfy the sense creativity and authorship?

As software and high end work- stations become more universal, anyone has the access and ability to mimic what they have seen through blogs, magazines or book. What makes one designer distinct from another is their personal voice, and their ideas. How can you develop your own voice and ideas with the tools you have been given? In an attempt to begin fostering a more critical approach to design, let us ignore the trends and find what is the key to your ideas. Let us ignore online assets and try to come up with ideas without relying on the internet as the usual go- to. Using the art school as the subject matter, you will research and pick a space any where in the school and over time, will create a number of site- specific projects for that space.

Why are we exploring physical spaces to inspire a design process? The locker room, the dining space, the common room, the bathroom, the elevator, and the stairwell all serve a purpose for everyone in the community—the design of each space centers on functionality. But for each person, they relate to those spaces in very different ways– triggered by memory, experience, and importance. This in effect, can influence how you re-interpret these spaces, their qualities and themes, which in turn will help develop your unique approach to problem solving, examining and forming strong critical skills along the way.

You can pick one quality or multiple aspects of your space to inform your research and final project. There are only three requirements when beginning these projects.

1/ I advise that not all work is not entirely done on the computer. Be inventive. Use chalk, cardboard, objects, removable type, etc. You are not obliged to not use the computer. If that is what makes you feel most comfortable, so be it.

2/ Only use what you can find in the school and at your home. Try to limit your expenses to a minimum.

It is important to bring work to each class and to be involved in a critical discussion about it. It is necessary to learn how to present your work clearly, and how to respond critically to the work of your peers. By improving your skills of presentation, criticism and analysis, you will see that the formal execution of your own ideas will improve dramatically. It is imperative to sketch in this class. For all assignments, begin your process by sketching ideas out as thumbnails. Bring this to every class so we can keep track of your progress.

3/ Do not vandalize school property and be conscience of public safety regulations of the campus. Get permission from faculty and school if the site is in question.

Unit Objectives:
– To develop self-motivated concepts, themes and content based on their existing environment
– To consider space as a framework/canvas to work within
– To build “translation” skills; being able to adapt forms from one medium/site to another

4 Unit 4: Jiminie Ha   b Add comment

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í Unit 3: Due this week

 

Function

For Wednesday, October 15:

Continue your experiments. Refine and define your tool(s).

Please bring your final results to class.

Additionally, in the spirit of growing knowledge through the sharing of tools, please also provide a set of instructions for using your tool(s). Your instructions can be as simple or as complex as they need to be, to make your tool available and accessible to others. The method or form of your instructions is open, but you are encouraged to make something appropriate to the tool itself.

 


 

A few examples:

Simple, wordless diagrams from a chopsticks wrapper:

chopstick detail2

Four simple sentences from the Content Aware Typography tumblr:

Screen Shot 2014-10-13 at 11.36.44 AM

or Daniel Eatock’s “participation” projects (for example), or his Pen Prints:

Screen Shot 2014-10-13 at 11.34.39 AMScreen Shot 2014-10-13 at 11.40.56 AM

 

or Xavier Antin’s Printing at Home:

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or the how-to guides from Obedient Objects:

bike-stack-610

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B Unit 3: Some additional digital hacks

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Panoramahacks
hacking the iphone camera’s panorama feature
by RISD GD Critic Paul Soulellis


 

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Excel Drawings by Danielle Aubert

 

 


iqfont03

iQ font—When driving becomes writing
A modern take on Rauschenberg’s Automobile Tire Print.


 

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Making Future Magic: iPad light painting




Illucia: a patchable videogame controller
by RISD GD critic Chris Novello

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B Unit 3: Readings

Tool (Or, Postproduction for the Graphic Designer), Andrew Blauvelt, from Graphic Design: Now in Production

Program or Be Programmed (introduction), Douglas Rushkoff

Design As Art (excerpts: Micro-Art, Moiré, and Direct Projections), Bruno Munari

Original Xerographies (excerpts), Bruno Munari

Jürg Lehni talks with Philippe Cao & Daniel Giuditta, HTML Output, Spring 2014

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2 Responses to “Unit 3: Readings”

  1. John says:

    I just ordered Nicholas Carr’s latest book, The Glass Cage… described on the back cover as “at once a celebration of technology and a warning of its misuse, [it] will change the way you think about the tools you use every day.

  2. Benjamin Shaykin says:

    !

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