DB406
                    Leaving the Cocoon, Facing the World


                                   PART I
Tuesday, Februa...
Manifest1 (het;-en)[<Fr. manifeste] 1 openbare bekendmaking
     van een partij, een politiek persoon enz., tot verklaring...
manifesto |ˌmanəˈfestō |
         noun ( pl. -tos)
         a public declaration of policy and aims, esp. one issued befor...
Luther in Wittenberg: the 95 theses
                                            1517
Tuesday, February 23, 2010
the early 20th century:
                          the manifestos:
              dada, futurism, de stijl, and surrealism
 ...
Tuesday, February 23, 2010
dada


Tuesday, February 23, 2010
The Futurist is dead. Of What? Of DADA
                      ◦ A young girl commits suicide. Because of What? DADA
       ...
Hugo Ball, Cabaret Voltaire, Zürich, 1916
                                   1868-1927                   9


Tuesday, Febr...
It is necessary for me to drop all respect for tradition, opinion, and judgement.
                       It is necessary f...
futurism


Tuesday, February 23, 2010
12


Tuesday, February 23, 2010
13


Tuesday, February 23, 2010
1.
                                               We want to sing the love of danger, the habit of energy and rashness.
  ...
Umberto Boccioni, 1913

Tuesday, February 23, 2010
Umberto Boccioni-'States of Mind III - Those Who Stay', 1911




  “While the impressionists make a table to give one part...
Gabriele d’Annunzio   Curzio Malaparte




                 Il Vittoriale degli Italiani - Nave Puglia                    ...
de stijl

                                        18


Tuesday, February 23, 2010
19


Tuesday, February 23, 2010
Rietveld Schröderhuis - 1924   20


Tuesday, February 23, 2010
Theo van Doesburg - Compositie, 1930   21


Tuesday, February 23, 2010
surrealism


Tuesday, February 23, 2010
Tuesday, February 23, 2010
24


Tuesday, February 23, 2010
André Breton: Exerpts from the first manifesto of surrealism
            1. Within the limits to which its performance is ...
Luis Buñuel & Salvador Dali
                                1900-1983     1904-1989


Tuesday, February 23, 2010
Un Chien Andalou
                                   (1929)




Tuesday, February 23, 2010
Jean Cocteau
                                1900-1979


Tuesday, February 23, 2010
Le sang d’un poète
                                    (1930)

                                  Orphée
                  ...
DB406
                    Leaving the Cocoon, Facing the World


                                   PART II
Tuesday, Febru...
2
                             building in the 20th century:
                             classical modernism versus
     ...
Adolf Loos
                               1870-1933



Tuesday, February 23, 2010
Maison Tristan-Tzara, Paris
                                         1926




                                            ...
34


Tuesday, February 23, 2010
Ornament und Verbrechen
                             1908




Tuesday, February 23, 2010
Tuesday, February 23, 2010
“Evolution der Kultur ist gleichbedeutend mit dem entfernen
       des Ornamentes aus dem Gebrauchsgegenstände.”




     ...
“Ornamentlosigkeit ist ein Zeichen geistiger Kraft. Der moderne Mensch
 verwendet die Ornamente früherer und fremder Kultu...
Haus Müller, Praha
                                    1930




                                                  39


Tue...
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
ISBN 978-3902517-62-3   44


Tuesday, February 23, 2010
undershirt
     underpants
                  shirt
       pantaloon                                  Text
        waistcoa...
Adolf Loos - House for Josephine Baker, Paris, 1927   46


Tuesday, February 23, 2010
Euphoria of Scale
                             (scale of thinking, scale of building)


Tuesday, February 23, 2010
Le Corbusier
                                1887-1965



Tuesday, February 23, 2010
Energy is multiple, multiform.
                      The elites, the constructive spirits are all ‘of the same nature’:
  ...
ISBN-10: 208081611X   50


Tuesday, February 23, 2010
Tuesday, February 23, 2010
CIAM
                             Congrès Internationaux d’Architecture Moderne

Tuesday, February 23, 2010
Le Corbusier - ‘Plan Voisin’ for Paris, 1925

Tuesday, February 23, 2010
Tuesday, February 23, 2010
In architecture form is a noun;
                           in industry form is a verb.
                                  B...
Buckminster Fuller
                                   1895-1983



Tuesday, February 23, 2010
I know that I am not a category, a hybrid specialization,
                                            I am not a thing - a...
Euphoria of Scale,
                               Euphoria of Meta Thinking

                             Buckminster Full...
anticipatory design science



Tuesday, February 23, 2010
26% of earth’s surface is dry land.
 85% of all earth’s dry land is here shown.
 86% of all dry land shown is above equato...
We are concerned
                        with mooring first class habitation
                              to the earth’s ...
Tuesday, February 23, 2010
Tuesday, February 23, 2010
dimaxion
                             dynamism        maximum        ions
                                        “it just...
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Dymaxion Car no.1, july 1933

Tuesday, February 23, 2010
Tuesday, February 23, 2010
500.000 BC - 1850              1850-1950              1950 >>

                      (against forces)             (transit...
500.000 BC - 1850              1850-1950              1950 >>

                      (against forces)             (transit...
Tuesday, February 23, 2010
Dymaxion World Map
Tuesday, February 23, 2010
“You never change things by fighting the existing reality.
   To change something, build a new model that makes the existi...
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Buckminster Fuller interview
                               Bell Laboratories, 1975



                                   ...
“Reshape the Environment;
                              don’t try to reshape Man.”



Tuesday, February 23, 2010
Something hit me very hard once, thinking about what one little man could do.
                                   Think of ...
DB406
                    Leaving the Cocoon, Facing the World


                                  PART III
Tuesday, Febru...
3
                                       Postwar:
                             some discourses in art, design
            ...
Ad Reinhardt
                                1913-1967



Tuesday, February 23, 2010
Words in art are words.
                                   Letters in art are letters.
                                   ...
84


Tuesday, February 23, 2010
1946
Tuesday, February 23, 2010
Tuesday, February 23, 2010
1961
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Marcel Duchamp
                                 1887-1968



Tuesday, February 23, 2010
Marcel Duchamp - Pissoir, 1917

Tuesday, February 23, 2010
Marcel Duchamp - The Bride Stripped Bare By Her Bachelors, Even 1915-1923


Tuesday, February 23, 2010
Marcel Duchamp - La Boîte-en-Valise, 1945-1968
Tuesday, February 23, 2010
Marcel Duchamp - Boite-en-valise no.0/XX,1942
Tuesday, February 23, 2010
Andy Warhol
                               1928-1987



Tuesday, February 23, 2010
In the future everyone will be famous for 15 minutes.


  What's great about this country is that America started the trad...
Tuesday, February 23, 2010
Blow Job (1964)




                                               97


Tuesday, February 23, 2010
98


Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Sol Lewitt
                              1928-2007



Tuesday, February 23, 2010
Sol LeWitt - Sentences on Conceptual Art (1969)
 1.    Conceptual artists are mystics rather than rationalists. They leap ...
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Donald Judd
                               1928-1994



Tuesday, February 23, 2010
“Three dimensions are real space. That gets rld of the problem of illusions and of literal
       space, space in and arou...
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Jeff Koons
                                1955-



Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Jeff Koons - Balloon Dog, Metropolitan Museum, New York, 2008   118


Tuesday, February 23, 2010
Jeff Koons in Versailles
                                10/9/2008 - 14/12/2008   119


Tuesday, February 23, 2010
Damien Hirst - For the love of God, 2007   120


Tuesday, February 23, 2010
DB406
                    Leaving the Cocoon, Facing the World


                                  PART IV
Tuesday, Februa...
4
                             architecture and meta thinking
                               building beyond servitude



...
Rem Koolhaas
                                 1944-



Tuesday, February 23, 2010
“The areas of consensus shift unbelievably fast; the bubbles of certainty are constantly exploding.
     Any architectural...
OMA|AMO


Tuesday, February 23, 2010
1978
Tuesday, February 23, 2010
Tuesday, February 23, 2010
City of the Captive Globe
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Office for Metropolitan Architecture (OMA)
                                         Programmatic Lava
                    ...
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Seattle Library
                                 OMA|AMO


                                   proposal
Tuesday, February 2...
30 spaces for the 21st century
                             OMA|AMO


                             Wired - June 2003
Tuesd...
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
Tuesday, February 23, 2010
DB406
                    Leaving the Cocoon, Facing the World


                                   PART V
Tuesday, Februa...
Charles Eames
                                1907-1978



Tuesday, February 23, 2010
Charles Eames
                             Design Q. & A.



Tuesday, February 23, 2010
5
                          design and meta thinking:
                        from the devil in the detail to
            ...
Dieter Rams
                                1932-



Tuesday, February 23, 2010
147


Tuesday, February 23, 2010
148


Tuesday, February 23, 2010
is innovative

                             makes a product useful

                             is aesthetic

           ...
John Maeda
                                1966-



Tuesday, February 23, 2010
John Maeda
                                         'Nature'
                             La Fondation Cartier, Paris 2005...
152


Tuesday, February 23, 2010
SIMPLICITY = SANITY




                         Technology has made our lives
                       more full, yet at th...
TEN LAWS
                                                         1. Reduce
                         The simplest way to a...
Man muß die Dinge so einfach wie möglich machen. Aber nicht einfacher

                                    Albert Einstein...
TEN LAWS
                                                         1. Reduce
                         The simplest way to a...
157


Tuesday, February 23, 2010
158


Tuesday, February 23, 2010
THREE KEYS




                                                     1. Away
                             More appears like...
HOW MUCH DOES
           THE SYSTEM
        KNOW ABOUT YOU?




                               HOW MUCH DO YOU
           ...
Bruce Sterling
                                  1954-



Tuesday, February 23, 2010
ISBN-10:0-262-69326-7


Tuesday, February 23, 2010
Tuesday, February 23, 2010
DB406
                    Leaving the Cocoon, Facing the World


                                  PART VI
Tuesday, Februa...
6
                   some developments and a manifesto
                   in ‘recent’ pre-contemporary cinema




Tuesday,...
Dogme 95
                                Lars von Trier
                              Thomas Vinterberg
                  ...
I swear to submit to the following set of rules drawn up and confirmed by DOGME 95:
        01. Shooting must be done on l...
Dogme #1       Dogme #2          Dogme #6




                 Thomas Vinterberg   Lars von Trier   Harmony Korine
       ...
Julien Donkey-Boy
                               Harmony Korine
                                    1999



              ...
fin

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Industrial Design Masters Module Lecture - Leaving the Cocoon, Facing the World - February2010

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This lecture is the introduction to an Industrial Design Masters module titled "Leaving the Cocoon, Facing the World".

Module Brief:

For over three years TU/e ID students have learned to look at their navel. It’s even more than that: the navel needs to be observed, scrutinized, self-criticized, and only up to a point one is able to look beyond this cherished body part. All this is related to the ID competency system, and the model of writing self-evaluations with the goal to reflect on one’s learning experiences. Indeed, it is a powerful way to obtain the tools to gradually become an industrial design engineer.
As the Bachelor’s 3rd year relates to the core theme of acquiring an Identity, one would think this year is an outstanding opportunity to leave the cocoon there and then. After all, internships and an individual Bachelor project give ample opportunities to face the world. For some this is the case, for others it turns out to be a bridge too far. Acquiring independence of thinking takes time and effort, and, above all, a network of knowledge, people, and places. But still being connected to the ID curriculum, an ID Bachelor student first and foremost has to relate to the educational umbilical cord. Righteously so.

The ID Masters phase is another cup of tea altogether. Here as well the curriculum steers the student’s activities. But there are other expectations compared to the Bachelor phase: identity should be further developed, independence of thinking and acting is one of the core requirements throughout the Masters course.
In the ID Masters every step should be an anticipation of things to come: there is a professional life at the end of the tunnel. Where does one stand after the ID Masters graduation? What tools and fundamental insights does the student have when facing the world at large after ending this education?
What is essential is to have developed a bird’s eye perspective on what the world of (industrial) design and cognitive culture is about, and what discourses abound. For many artists, architects and designers, their written statements, manifestos and essays turn out to be essential during their formative years. Because it is not only their art and design that make up their development, but also their writing, and the way they materialize and contextualize their viewpoints.

This module gives you insight into the way a number of outstanding artists, designers and architects have influenced their respective disciplines by means of their essays, statements, and manifestos. In some cases their attitude, opinions, and prophesies influenced a whole generation.
It would be going too far to expect something similar from the module participants, especially because many Masters students obviously don’t have the urge (yet) to be so outspoken, or lack the necessary insight to develop such a key position. This urge comes from within, and manifests itself at the right time and place. But let’s just act as if

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Industrial Design Masters Module Lecture - Leaving the Cocoon, Facing the World - February2010

  1. 1. DB406 Leaving the Cocoon, Facing the World PART I Tuesday, February 23, 2010
  2. 2. Manifest1 (het;-en)[<Fr. manifeste] 1 openbare bekendmaking van een partij, een politiek persoon enz., tot verklaring of verdediging van haar of zijn handelingen en opvattingen: een manifest uitvaardigen; het Communistisch Manifest (1848, met de slotwoorden: ‘proletariërs aller landen, verenigt u’) 2 (kooph.) door de cargadoor opgemaakte verzamelstaat van cognossementen: manifest der lading. Source: Van Dale, 13th edition Tuesday, February 23, 2010
  3. 3. manifesto |ˌmanəˈfestō | noun ( pl. -tos) a public declaration of policy and aims, esp. one issued before an election by a political party or candidate. ORIGIN mid 17th cent.: from Italian, from manifestare, from Latin, ‘make public,’ from manifestus ‘obvious’ (see manifest 1 ). Tuesday, February 23, 2010
  4. 4. Luther in Wittenberg: the 95 theses 1517 Tuesday, February 23, 2010
  5. 5. the early 20th century: the manifestos: dada, futurism, de stijl, and surrealism (the age of euphoria in the face of death) Tuesday, February 23, 2010
  6. 6. Tuesday, February 23, 2010
  7. 7. dada Tuesday, February 23, 2010
  8. 8. The Futurist is dead. Of What? Of DADA ◦ A young girl commits suicide. Because of What? DADA ◦ The spirits are telephoned. Who invented it? DADA ◦ Someone walks on your feet. It's DADA ◦ If you have serious ideas about life, ◦ If you make artistic discoveries ◦ And if all of a sudden your head begins to crackle with laughter, ◦ If you find all your ideas useless and ridiculous, know that IT IS DADA BEGINNING TO SPEAK TO YOU WHAT DOES DADA DO? 50 francs reward to the person who finds the best way to explain DADA to us Tuesday, February 23, 2010
  9. 9. Hugo Ball, Cabaret Voltaire, Zürich, 1916 1868-1927 9 Tuesday, February 23, 2010
  10. 10. It is necessary for me to drop all respect for tradition, opinion, and judgement. It is necessary for me to erase the rambling text that others have written. The present does not exist in principles, but only in association. We live in a fantastic age that draws its decisions more from affiliation than from unassailable axioms. The creative man can do anything he wants with this age. It is, all of it, common property, matter. Nature is neither beautiful nor ugly, neither good nor bad. It is fantastic, monstrous, and infinitively unrestrained. It knows no reason, but it listens to reason when it meets with resistance. Nature wants to exist and develop, that is all. Being in harmony with nature is the same as being in harmony with madness. Hugo Ball, 1916 Tuesday, February 23, 2010
  11. 11. futurism Tuesday, February 23, 2010
  12. 12. 12 Tuesday, February 23, 2010
  13. 13. 13 Tuesday, February 23, 2010
  14. 14. 1. We want to sing the love of danger, the habit of energy and rashness. 2. The essential elements of our poetry will be courage, audacity and revolt. 3. Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist. 4. We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath ... A roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace. 5. We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit. 6. The poet must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of the primordial elements. 7. Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man. 8. We are on the extreme promontory of the centuries! What is the use of looking behind at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are already living in the absolute, since we have already created eternal, omnipresent speed. 9. We want to glorify war - the only cure for the world - militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman. 10. We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice. 11. We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals; the nocturnal vibration of he arsenals and the workshops beneath their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives, puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds. 14 Paris, February 20th, 1909 Tuesday, February 23, 2010
  15. 15. Umberto Boccioni, 1913 Tuesday, February 23, 2010
  16. 16. Umberto Boccioni-'States of Mind III - Those Who Stay', 1911 “While the impressionists make a table to give one particular moment and subordinate the life of the table to its resemblance to this moment, we synthesize every moment (time, place, form, color tone) and thus build the table.” 16 Umberto Boccioni, 1914 Tuesday, February 23, 2010
  17. 17. Gabriele d’Annunzio Curzio Malaparte Il Vittoriale degli Italiani - Nave Puglia Casa Malaparte, Isola Capri Predecessor and offspring (in spirit) Tuesday, February 23, 2010
  18. 18. de stijl 18 Tuesday, February 23, 2010
  19. 19. 19 Tuesday, February 23, 2010
  20. 20. Rietveld Schröderhuis - 1924 20 Tuesday, February 23, 2010
  21. 21. Theo van Doesburg - Compositie, 1930 21 Tuesday, February 23, 2010
  22. 22. surrealism Tuesday, February 23, 2010
  23. 23. Tuesday, February 23, 2010
  24. 24. 24 Tuesday, February 23, 2010
  25. 25. André Breton: Exerpts from the first manifesto of surrealism 1. Within the limits to which its performance is restricted (or what passes for performance), the dream, according to all outward appearances, is continuous and bears traces of organization. 2 I return to the waking state. I am obliged to retain it as a phenomenon of interference. Not only does the mind show a strange tendency to disorientation under these conditions (this is the clue to slips of the tongue and lapses of all kinds whose secret is just beginning to be surrendered to us), but when function- ing normally the mind still seems to obey none other than those suggestions which rise from that deep night I am commending. 3 The mind of the dreaming man is fully satisfied with whatever happens to it. The agonizing question of possibility does not arise. Kill, plunder more quickly, love as much as you wish. And if you die, are you not sure of being roused from the dead? Let yourself be led. Events will not tolerate deferment. You have no name. Everything Is inestimably easy. 4 When the time comes when we can submit the dream to a methodical examination, when by methods yet to be determined we succeed in realizing the dream in its entirety (and that implies a memory discipline measurable in generations, but we can still begin by recording salient facts), when the dream's curve is developed with an unequalled breadth and regularity, then we can hope that mysteries which are not really mysteries will give way to the great Mystery. (SURREALISM, noun, masc., Pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. Thought dictated in the absence of all control exerted by reason, and outside all aesthetic25 moral or preoccupations.) Tuesday, February 23, 2010
  26. 26. Luis Buñuel & Salvador Dali 1900-1983 1904-1989 Tuesday, February 23, 2010
  27. 27. Un Chien Andalou (1929) Tuesday, February 23, 2010
  28. 28. Jean Cocteau 1900-1979 Tuesday, February 23, 2010
  29. 29. Le sang d’un poète (1930) Orphée (1940) Tuesday, February 23, 2010
  30. 30. DB406 Leaving the Cocoon, Facing the World PART II Tuesday, February 23, 2010
  31. 31. 2 building in the 20th century: classical modernism versus anticipatory design science Tuesday, February 23, 2010
  32. 32. Adolf Loos 1870-1933 Tuesday, February 23, 2010
  33. 33. Maison Tristan-Tzara, Paris 1926 33 Tuesday, February 23, 2010
  34. 34. 34 Tuesday, February 23, 2010
  35. 35. Ornament und Verbrechen 1908 Tuesday, February 23, 2010
  36. 36. Tuesday, February 23, 2010
  37. 37. “Evolution der Kultur ist gleichbedeutend mit dem entfernen des Ornamentes aus dem Gebrauchsgegenstände.” from: Adolf Loos - Ornament und Verbrechen, 1908 Tuesday, February 23, 2010
  38. 38. “Ornamentlosigkeit ist ein Zeichen geistiger Kraft. Der moderne Mensch verwendet die Ornamente früherer und fremder Kulturen nach seinem Gutdünken. Seine eigene Erfindung konzentriert er auf andere Dinge.” from: Adolf Loos - Ornament und Verbrechen, 1908 Tuesday, February 23, 2010
  39. 39. Haus Müller, Praha 1930 39 Tuesday, February 23, 2010
  40. 40. Tuesday, February 23, 2010
  41. 41. Tuesday, February 23, 2010
  42. 42. Tuesday, February 23, 2010
  43. 43. Tuesday, February 23, 2010
  44. 44. ISBN 978-3902517-62-3 44 Tuesday, February 23, 2010
  45. 45. undershirt underpants shirt pantaloon Text waistcoat jacket overcoat man resembling an onion... (seven layers of clothing on navel level) Tuesday, February 23, 2010
  46. 46. Adolf Loos - House for Josephine Baker, Paris, 1927 46 Tuesday, February 23, 2010
  47. 47. Euphoria of Scale (scale of thinking, scale of building) Tuesday, February 23, 2010
  48. 48. Le Corbusier 1887-1965 Tuesday, February 23, 2010
  49. 49. Energy is multiple, multiform. The elites, the constructive spirits are all ‘of the same nature’: constructive powers (energetic qualities) acting in various milieux, indissociable, interdependent symphonic events of human activity. In principle the city is precisely, necessarily the place of assembly, contact, competition and struggle of diverse energies. It would be dangerous and artificial to disperse them. It would be contrary to the instinctual forces of assembly that have given rise to the city…To isolate would be to enfeeble. Le Corbusier, 1930 Tuesday, February 23, 2010
  50. 50. ISBN-10: 208081611X 50 Tuesday, February 23, 2010
  51. 51. Tuesday, February 23, 2010
  52. 52. CIAM Congrès Internationaux d’Architecture Moderne Tuesday, February 23, 2010
  53. 53. Le Corbusier - ‘Plan Voisin’ for Paris, 1925 Tuesday, February 23, 2010
  54. 54. Tuesday, February 23, 2010
  55. 55. In architecture form is a noun; in industry form is a verb. Buckminster Fuller, 1928 Tuesday, February 23, 2010
  56. 56. Buckminster Fuller 1895-1983 Tuesday, February 23, 2010
  57. 57. I know that I am not a category, a hybrid specialization, I am not a thing - a noun. I seem to be a verb - an evolutionary process - an integral function of the universe, and so are you. Richard Buckminster Fuller Tuesday, February 23, 2010
  58. 58. Euphoria of Scale, Euphoria of Meta Thinking Buckminster Fuller’s Multiple Science & Design Paradigms Tuesday, February 23, 2010
  59. 59. anticipatory design science Tuesday, February 23, 2010
  60. 60. 26% of earth’s surface is dry land. 85% of all earth’s dry land is here shown. 86% of all dry land shown is above equator. The whole of the human family could stand on Bermuda. All crowded into England they would have 14sq. mtr. each. “United we stand, divided we fall” is correct mentally and spiritually but falacious physically or materially. 2,000,000,000 new homes will be required in the next 80 years. Richard Buckminster Fuller, 1928 Tuesday, February 23, 2010
  61. 61. We are concerned with mooring first class habitation to the earth’s surface. Tuesday, February 23, 2010
  62. 62. Tuesday, February 23, 2010
  63. 63. Tuesday, February 23, 2010
  64. 64. dimaxion dynamism maximum ions “it just emerged” Tuesday, February 23, 2010
  65. 65. Tuesday, February 23, 2010
  66. 66. Tuesday, February 23, 2010
  67. 67. Dymaxion Car no.1, july 1933 Tuesday, February 23, 2010
  68. 68. Tuesday, February 23, 2010
  69. 69. 500.000 BC - 1850 1850-1950 1950 >> (against forces) (transitional) (natural) Man on Earth: transport species Tuesday, February 23, 2010
  70. 70. 500.000 BC - 1850 1850-1950 1950 >> (against forces) (transitional) (natural) Man on Earth: transport species Tuesday, February 23, 2010
  71. 71. Tuesday, February 23, 2010
  72. 72. Dymaxion World Map Tuesday, February 23, 2010
  73. 73. “You never change things by fighting the existing reality. To change something, build a new model that makes the existing model obsolete.” 72 Tuesday, February 23, 2010
  74. 74. Tuesday, February 23, 2010
  75. 75. Tuesday, February 23, 2010
  76. 76. Tuesday, February 23, 2010
  77. 77. Tuesday, February 23, 2010
  78. 78. Buckminster Fuller interview Bell Laboratories, 1975 77 Tuesday, February 23, 2010
  79. 79. “Reshape the Environment; don’t try to reshape Man.” Tuesday, February 23, 2010
  80. 80. Something hit me very hard once, thinking about what one little man could do. Think of the Queen Mary: the whole ship goes by and then comes the rudder. And there's a tiny thing at the edge of the rudder called a trim tab. It's a miniature rudder. Just moving the little trim tab builds a low pressure that pulls the rudder around. Takes almost no effort at all. So I said that the little individual can be a trim tab. Society thinks it's going right by you, that it's left you altogether. But if you're doing dynamic things mentally, the fact is that you can just put your foot out like that and the whole big ship of state is going to go. So I said, call me Trim Tab. 79 Tuesday, February 23, 2010
  81. 81. DB406 Leaving the Cocoon, Facing the World PART III Tuesday, February 23, 2010
  82. 82. 3 Postwar: some discourses in art, design and architecture Tuesday, February 23, 2010
  83. 83. Ad Reinhardt 1913-1967 Tuesday, February 23, 2010
  84. 84. Words in art are words. Letters in art are letters. Writing in art is writing. Messages in art are not messages. Explanation in art is not explanation. Tuesday, February 23, 2010
  85. 85. 84 Tuesday, February 23, 2010
  86. 86. 1946 Tuesday, February 23, 2010
  87. 87. Tuesday, February 23, 2010
  88. 88. 1961 Tuesday, February 23, 2010
  89. 89. Tuesday, February 23, 2010
  90. 90. Marcel Duchamp 1887-1968 Tuesday, February 23, 2010
  91. 91. Marcel Duchamp - Pissoir, 1917 Tuesday, February 23, 2010
  92. 92. Marcel Duchamp - The Bride Stripped Bare By Her Bachelors, Even 1915-1923 Tuesday, February 23, 2010
  93. 93. Marcel Duchamp - La Boîte-en-Valise, 1945-1968 Tuesday, February 23, 2010
  94. 94. Marcel Duchamp - Boite-en-valise no.0/XX,1942 Tuesday, February 23, 2010
  95. 95. Andy Warhol 1928-1987 Tuesday, February 23, 2010
  96. 96. In the future everyone will be famous for 15 minutes. What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. An artist is someone who produces things that people don't need to have but that he - for some reason - thinks it would be a good idea to give them. Fantasy love is much better than reality love. Never doing it is very exciting. The most exciting attractions are between two opposites that never meet. Tuesday, February 23, 2010
  97. 97. Tuesday, February 23, 2010
  98. 98. Blow Job (1964) 97 Tuesday, February 23, 2010
  99. 99. 98 Tuesday, February 23, 2010
  100. 100. Tuesday, February 23, 2010
  101. 101. Tuesday, February 23, 2010
  102. 102. Tuesday, February 23, 2010
  103. 103. Sol Lewitt 1928-2007 Tuesday, February 23, 2010
  104. 104. Sol LeWitt - Sentences on Conceptual Art (1969) 1. Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach. 2. Rational judgements repeat rational judgements. 3. Irrational judgements lead to new experience. 4. Formal art is essentially rational. 5. Irrational thoughts should be followed absolutely and logically. 6. If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results. 7. The artist's will is secondary to the process he initiates from idea to completion. His wilfulness may only be ego. 8. When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations. 9. The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept. 10. Ideas can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical. 11. Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions, but an idea must necessarily be completed in the mind before the next one is formed. 12. For each work of art that becomes physical there are many variations that do not. 13. A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may never reach the viewer, or it may never leave the artist's mind. 14. The words of one artist to another may induce an idea chain, if they share the same concept. 15. Since no form is intrinsically superior to another, the artist may use any form, from an expression of words (written or spoken) to physical reality, equally. 16. If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics. 17. All ideas are art if they are concerned with art and fall within the conventions of art. 18. One usually understands the art of the past by applying the convention of the present, thus misunderstanding the art of the past. 19. The conventions of art are altered by works of art. 20. Successful art changes our understanding of the conventions by altering our perceptions. 21. Perception of ideas leads to new ideas. 22. The artist cannot imagine his art, and cannot perceive it until it is complete. 23. The artist may misperceive (understand it differently from the artist) a work of art but still be set off in his own chain of thought by that misconstrual. 24. Perception is subjective. 25. The artist may not necessarily understand his own art. His perception is neither better nor worse than that of others. 26. An artist may perceive the art of others better than his own. 27. The concept of a work of art may involve the matter of the piece or the process in which it is made. 28. Once the idea of the piece is established in the artist's mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works. 29. The process is mechanical and should not be tampered with. It should run its course. 30. There are many elements involved in a work of art. The most important are the most obvious. 31. If an artist uses the same form in a group of works, and changes the material, one would assume the artist's concept involved the material. 32. Banal ideas cannot be rescued by beautiful execution. 33. It is difficult to bungle a good idea. 34. When an artist learns his craft too well he makes slick art. 35. These sentences comment on art, but are not art. 103 Tuesday, February 23, 2010
  105. 105. Tuesday, February 23, 2010
  106. 106. Tuesday, February 23, 2010
  107. 107. Donald Judd 1928-1994 Tuesday, February 23, 2010
  108. 108. “Three dimensions are real space. That gets rld of the problem of illusions and of literal space, space in and around marks and colors - which is riddance of one of the salient and most objectionable relics of European art. The several limits of painting are no longer present. A work can be as powerful as it can be thought to be. Actual space is intrinsically more powerful and specific than paint on a flat surface. Obviously, anything in three dimensions can be any shape, regular or irregular, and can have any relation to the wall, floor, ceiling, room, rooms or exterior or none at all. Any material can be used, as is or painted.” From: Donald Judd - Specific Objects, 1965 107 Tuesday, February 23, 2010
  109. 109. Tuesday, February 23, 2010
  110. 110. Tuesday, February 23, 2010
  111. 111. Tuesday, February 23, 2010
  112. 112. Jeff Koons 1955- Tuesday, February 23, 2010
  113. 113. Tuesday, February 23, 2010
  114. 114. Tuesday, February 23, 2010
  115. 115. Tuesday, February 23, 2010
  116. 116. Tuesday, February 23, 2010
  117. 117. Tuesday, February 23, 2010
  118. 118. Tuesday, February 23, 2010
  119. 119. Jeff Koons - Balloon Dog, Metropolitan Museum, New York, 2008 118 Tuesday, February 23, 2010
  120. 120. Jeff Koons in Versailles 10/9/2008 - 14/12/2008 119 Tuesday, February 23, 2010
  121. 121. Damien Hirst - For the love of God, 2007 120 Tuesday, February 23, 2010
  122. 122. DB406 Leaving the Cocoon, Facing the World PART IV Tuesday, February 23, 2010
  123. 123. 4 architecture and meta thinking building beyond servitude Tuesday, February 23, 2010
  124. 124. Rem Koolhaas 1944- Tuesday, February 23, 2010
  125. 125. “The areas of consensus shift unbelievably fast; the bubbles of certainty are constantly exploding. Any architectural project we do takes at least four or five years, so increasingly there is a discrepancy between the acceleration of culture and the continuing slowness of architecture." 124 Tuesday, February 23, 2010
  126. 126. OMA|AMO Tuesday, February 23, 2010
  127. 127. 1978 Tuesday, February 23, 2010
  128. 128. Tuesday, February 23, 2010
  129. 129. City of the Captive Globe Tuesday, February 23, 2010
  130. 130. Tuesday, February 23, 2010
  131. 131. Tuesday, February 23, 2010
  132. 132. Tuesday, February 23, 2010
  133. 133. Office for Metropolitan Architecture (OMA) Programmatic Lava Urban Design Forum, Yokohama, Japan - project 1992 Tuesday, February 23, 2010
  134. 134. Tuesday, February 23, 2010
  135. 135. Tuesday, February 23, 2010
  136. 136. Seattle Library OMA|AMO proposal Tuesday, February 23, 2010
  137. 137. 30 spaces for the 21st century OMA|AMO Wired - June 2003 Tuesday, February 23, 2010
  138. 138. Tuesday, February 23, 2010
  139. 139. Tuesday, February 23, 2010
  140. 140. Tuesday, February 23, 2010
  141. 141. Tuesday, February 23, 2010
  142. 142. Tuesday, February 23, 2010
  143. 143. DB406 Leaving the Cocoon, Facing the World PART V Tuesday, February 23, 2010
  144. 144. Charles Eames 1907-1978 Tuesday, February 23, 2010
  145. 145. Charles Eames Design Q. & A. Tuesday, February 23, 2010
  146. 146. 5 design and meta thinking: from the devil in the detail to blending complexity and simplicity Tuesday, February 23, 2010
  147. 147. Dieter Rams 1932- Tuesday, February 23, 2010
  148. 148. 147 Tuesday, February 23, 2010
  149. 149. 148 Tuesday, February 23, 2010
  150. 150. is innovative makes a product useful is aesthetic helps us to understand a product Good design... is unobtrusive is honest is durable is thorough - to the last detail is concerned with the environment is as little design as possible 149 Dieter Rams, 1980 Tuesday, February 23, 2010
  151. 151. John Maeda 1966- Tuesday, February 23, 2010
  152. 152. John Maeda 'Nature' La Fondation Cartier, Paris 2005 151 Tuesday, February 23, 2010
  153. 153. 152 Tuesday, February 23, 2010
  154. 154. SIMPLICITY = SANITY Technology has made our lives more full, yet at the same time we’ve become uncomfortably “full”. 153 Tuesday, February 23, 2010
  155. 155. TEN LAWS 1. Reduce The simplest way to achive simplicity is through thoughtful reduction. 2. Organize Organization makes a system of many appear few. 3. Time Savings in time feel like simplicity. 4. Learn Knowledge makes everything simpler. 5. Differences Simplicity and complexity need each other. 6. Context What lies in the periphery of simplicity is definitively not peripheral. 7. Emotion More emotions are better than less. 8. Trust In simplicity we trust. 9. Failure Some things can never be made simple. 10. The One 154 Simplicity is about subtracting the obvious and adding the meaningful. Tuesday, February 23, 2010
  156. 156. Man muß die Dinge so einfach wie möglich machen. Aber nicht einfacher Albert Einstein 155 Tuesday, February 23, 2010
  157. 157. TEN LAWS 1. Reduce The simplest way to achive simplicity is through thoughtful reduction. 2. Organize Organization makes a system of many appear few. 3. Time Savings in time feel like simplicity. 4. Learn Knowledge makes everything simpler. 5. Differences Simplicity and complexity need each other. 6. Context What lies in the periphery of simplicity is definitively not peripheral. 7. Emotion More emotions are better than less. 8. Trust In simplicity we trust. 9. Failure Some things can never be made simple. 10. The One 156 Simplicity is about subtracting the obvious and adding the meaningful. Tuesday, February 23, 2010
  158. 158. 157 Tuesday, February 23, 2010
  159. 159. 158 Tuesday, February 23, 2010
  160. 160. THREE KEYS 1. Away More appears like less by simply moving it far, far away. 2. Open Openness simplifies complexity. 3. Power Use less, gain more. 159 Tuesday, February 23, 2010
  161. 161. HOW MUCH DOES THE SYSTEM KNOW ABOUT YOU? HOW MUCH DO YOU NEED TO KNOW ABOUT ABOUT A SYSTEM? 160 Tuesday, February 23, 2010
  162. 162. Bruce Sterling 1954- Tuesday, February 23, 2010
  163. 163. ISBN-10:0-262-69326-7 Tuesday, February 23, 2010
  164. 164. Tuesday, February 23, 2010
  165. 165. DB406 Leaving the Cocoon, Facing the World PART VI Tuesday, February 23, 2010
  166. 166. 6 some developments and a manifesto in ‘recent’ pre-contemporary cinema Tuesday, February 23, 2010
  167. 167. Dogme 95 Lars von Trier Thomas Vinterberg (et al) 166 Tuesday, February 23, 2010
  168. 168. I swear to submit to the following set of rules drawn up and confirmed by DOGME 95: 01. Shooting must be done on location. Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found). 02. The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the scene is being shot). 03. The camera must be hand-held. Any movement or immobility attainable in the hand is permitted. (The film must not take place where the camera is standing; shooting must take place where the film takes place). 04. The film must be in colour. Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera). 05. Optical work and filters are forbidden. 06. The film must not contain superficial action. (Murders, weapons, etc. must not occur.) 07. Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.) 08. Genre movies are not acceptable. 09. The film format must be Academy 35 mm. 10. The director must not be credited. Furthermore I swear as director to refrain from personal taste! I am no longer an artist. I swear to refrain from creating a ‘work’, as I regard the instant as more important than the whole. My supreme goal is to force the truth out of my characters and settings. I swear to do so by all the means available and at the cost of any good taste and any aesthetic considerations. Thus I make my VOW OF CHASTITY. Copenhagen, Monday 13 March 1995 On behalf of DOGME 95 Lars von Trier Thomas Vinterberg Tuesday, February 23, 2010
  169. 169. Dogme #1 Dogme #2 Dogme #6 Thomas Vinterberg Lars von Trier Harmony Korine (1998) (1998) (1999) Tuesday, February 23, 2010
  170. 170. Julien Donkey-Boy Harmony Korine 1999 169 Tuesday, February 23, 2010
  171. 171. fin Slideshare: rvtienhoven 170 http://www.slideshare.net/rvtienhoven/db406-module-lecture-9-2009-leaving-the-cocoon-facing-the-world Tuesday, February 23, 2010

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