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

DB406
Leaving the Cocoon, Facing the World

PART I
Tuesday, February 23, 2010

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


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 ).


Luther in Wittenberg: the 95 theses
1517

the early 20th century:
the manifestos:
dada, futurism, de stijl, and surrealism
(the age of euphoria in the face of death)


dada


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


Hugo Ball, Cabaret Voltaire, Zürich, 1916
1868-1927 9


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


futurism


12


13


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


Umberto Boccioni, 1913


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

Gabriele d’Annunzio Curzio Malaparte

Il Vittoriale degli Italiani - Nave Puglia Casa Malaparte, Isola Capri

Predecessor and offspring (in spirit)

de stijl

18


19


Rietveld Schröderhuis - 1924 20


Theo van Doesburg - Compositie, 1930 21


surrealism


24


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.)


Luis Buñuel & Salvador Dali
1900-1983 1904-1989


Un Chien Andalou
(1929)


Jean Cocteau
1900-1979


Le sang d’un poète
(1930)

Orphée
(1940)


DB406

PART II

2
building in the 20th century:
classical modernism versus
anticipatory design science


Adolf Loos
1870-1933


Maison Tristan-Tzara, Paris
1926

33


34


Ornament und Verbrechen
1908


“Evolution der Kultur ist gleichbedeutend mit dem entfernen
des Ornamentes aus dem Gebrauchsgegenstände.”

from: Adolf Loos - Ornament und Verbrechen, 1908


“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


Haus Müller, Praha
1930

39


ISBN 978-3902517-62-3 44


undershirt
underpants
shirt
pantaloon Text
waistcoat
jacket
overcoat

man resembling an onion...
(seven layers of clothing on navel level)


Adolf Loos - House for Josephine Baker, Paris, 1927 46


Euphoria of Scale
(scale of thinking, scale of building)


Le Corbusier
1887-1965


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


ISBN-10: 208081611X 50


CIAM
Congrès Internationaux d’Architecture Moderne


Le Corbusier - ‘Plan Voisin’ for Paris, 1925


In architecture form is a noun;
in industry form is a verb.
Buckminster Fuller, 1928


Buckminster Fuller
1895-1983


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


Euphoria of Scale,
Euphoria of Meta Thinking

Buckminster Fuller’s Multiple Science & Design Paradigms


anticipatory design science


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


We are concerned
with mooring first class habitation
to the earth’s surface.


dimaxion
dynamism maximum ions
“it just emerged”


Dymaxion Car no.1, july 1933


500.000 BC - 1850 1850-1950 1950 >>

(against forces) (transitional) (natural)

Man on Earth: transport species

Dymaxion World Map

“You never change things by fighting the existing reality.
To change something, build a new model that makes the existing model obsolete.”

72


Buckminster Fuller interview
Bell Laboratories, 1975

77


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


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


DB406

PART III

3
Postwar:
some discourses in art, design
and architecture


Ad Reinhardt
1913-1967


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.


84


1946

1961

Marcel Duchamp
1887-1968


Marcel Duchamp - Pissoir, 1917


Marcel Duchamp - The Bride Stripped Bare By Her Bachelors, Even 1915-1923


Marcel Duchamp - La Boîte-en-Valise, 1945-1968

Marcel Duchamp - Boite-en-valise no.0/XX,1942

Andy Warhol
1928-1987


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.


Blow Job (1964)

97


98


Sol Lewitt
1928-2007


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


Donald Judd
1928-1994


“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


Jeff Koons
1955-


Jeff Koons - Balloon Dog, Metropolitan Museum, New York, 2008 118


Jeff Koons in Versailles
10/9/2008 - 14/12/2008 119


Damien Hirst - For the love of God, 2007 120


DB406

PART IV

4
architecture and meta thinking
building beyond servitude


Rem Koolhaas
1944-


“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


OMA|AMO


1978

City of the Captive Globe

Office for Metropolitan Architecture (OMA)
Programmatic Lava
Urban Design Forum, Yokohama, Japan - project 1992

Seattle Library
OMA|AMO

proposal

30 spaces for the 21st century
OMA|AMO

Wired - June 2003

DB406

PART V

Charles Eames
1907-1978


Charles Eames
Design Q. & A.


5
design and meta thinking:
from the devil in the detail to
blending complexity and simplicity


Dieter Rams
1932-


147


148


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

John Maeda
1966-


John Maeda
'Nature'
La Fondation Cartier, Paris 2005

151


152


SIMPLICITY = SANITY

Technology has made our lives
more full, yet at the same time we’ve
become uncomfortably “full”.

153


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.

Man muß die Dinge so einfach wie möglich machen. Aber nicht einfacher

Albert Einstein

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
156
Simplicity is about subtracting the obvious and adding the meaningful.

157


158


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


HOW MUCH DOES
THE SYSTEM
KNOW ABOUT YOU?

HOW MUCH DO YOU
NEED TO KNOW
ABOUT ABOUT A SYSTEM?
160


Bruce Sterling
1954-


ISBN-10:0-262-69326-7


DB406

PART VI

6
some developments and a manifesto
in ‘recent’ pre-contemporary cinema


Dogme 95
Lars von Trier
Thomas Vinterberg
(et al)

166


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


Dogme #1 Dogme #2 Dogme #6

Thomas Vinterberg Lars von Trier Harmony Korine
(1998) (1998) (1999)


Julien Donkey-Boy
Harmony Korine
1999

169


fin

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

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