Tuesday, December 14, 2010
A Rudimentary Historical Context
Monday, December 13, 2010
New project abstract
Proposal Statement
How is digital fabrication renegotiating fine craft, from what could only once be described as priceless to a series of discrete mechanical processes? In this context how is the contemporary craftsperson defined?
Conceptual Investigation
What is digital “craft”? I want to explore the connections between the quantifiable digital elements and perceived notions of craftsmanship, maker, and creator. How must artists and designers redefine themselves as contemporary craftsman in the presence of automated prototyping/production/perfection? My research will also explore parallels with the early industrial revolution and the writings of its advocates and harshest critics. Within the broader context of art-making, I will use the development of the camera as a case study of technology necessitating conceptual renegotiation of artmaking (ie expressionism).
Final Form
Due to my prior work with process and meticulous attention to detail, it seems fitting that my explorations of contemporary craft should be two-fold: process and product. For the process portion I will design and construct a large scale 3d printer. In order to objectively examine what digital craft is, I must be able to remove myself from the physical process of making, while simultaneously gaining an intimate understanding of the digital elements at work. Many of the constraints I will use in the development of the Printer will be a direct result of the Product. Unlike available 3d printers, my design will utilize mortar to create a usable product, again in an effort to focus on the nature of craft. The final product will be a functional furniture object. I came to this decision because of the high level of interaction possible with a human-scale object, as well as the tactility and experience inherent with furniture. I will produce the same piece of furniture multiple times in an attempt to associate different digital qualities with the perceived notion of craftsmanship.
Andy would be proud
It's about time- Below is a letter sent to the Smithsonian Institute by the Warhol foundation. It's about damned time someone challenged the Catholic league!
Mr. Wayne Clough
Smithsonian Institution
SIB Office of the Secretary
MRC 016
PO Box 37012
Washington, D.C. 20013-7012
Dear Mr. Clough,
The Warhol Foundation is proud to have been a lead supporter of Hide/Seek: Difference and Desire in American Portraiture, but we strongly condemn the decision to remove David Wojnarowicz’s video A Fire in My Belly from the exhibition. Such blatant censorship is unconscionable. It is inimical to everything the Smithsonian Institution should stand for, and everything the Andy Warhol Foundation does stand for.
Although we have enjoyed our growing relationship during the past three years, and have given more than $375,000 to fund several exhibitions at various Smithsonian institutions, we cannot stand by and watch the Smithsonian bow to the demands of bigots who have attacked the exhibition out of ignorance, hatred and fear.
Last week the Foundation published a statement on its website www.warholfoundation.org, condemning the National Portrait Gallery’s removal of the work and on Friday our Board of Directors met to discuss the long-term implications of the Museum’s behavior on the Foundation’s relationship with the Smithsonian Institution. After careful consideration, the Board voted unanimously to demand that you restore the censored work immediately, or the Warhol Foundation will cease funding future exhibitions at all Smithsonian institutions.
I regret that you have put us in this position, but there is no other course we can take. For the arts to flourish the arts must be free, and the decision to censor this important work is in stark opposition to our mission to defend freedom of expression wherever and whenever it is under attack.
Sincerely yours,
Joel Wachs
President
Tuesday, November 30, 2010
The Dollhouse
Wednesday, November 10, 2010
inspiration for collaboration
Human Scale
IP Proposal ...Lately
Focusing on “work” as a broad performative theme, I will investigate the necessary design elements for transforming workspace into workplace.
How do we define space as place? Space is almost purely physical, while place may be space within a definite context. Place cannot be defined solely by the objects within a space, it’s meaning and significance must also derive from the recurring or singular tasks performed within it. Do we really need another piece of office furniture? No, we need better designed and more versatile furniture. If an object can be become intrinsically tied to a performative act such as work and the definite space where this event occurs, it transcends the title of furniture and becomes a tool, an item crucial to a user’s identity and efficiency.
My design explorations will result in the construction of three complete (furniture, storage, lighting, etc.) work environments: Individual, Collaboration, and play.
The Individual subspace will focus on the human condition and the necessary design elements for productivity and focus during solitary work.
Collaboration will investigate the design considerations required for successful group based work.
Work as play examines the role unconventional (and often contradictory) elements of play can be utilized to increase productivity/creativity.
Thursday, April 15, 2010
Architecture of Objects: Clock
Architecture of Object: Ikebana
Wood project #1: conceptual tool
- Was not functional in a utilitarian sense
- Had no physical reference to an already existing thing
- Explored the concept of "tool"
- Considered human interaction as essential in the understanding of "Tool"
The blur
Friday, February 19, 2010
Lamp Revisited
- The group was reacted much more positively to the folds running sideways rather than vertically.
- Disguise the bulb, while maintaining accessibility.
- Minimal Structure: How can the wireframe echo the folded curves while remaining unobtrusive and highly functional?