Wednesday, March 20, 2013

Does Newness Require Rules?


Does what was once thought of the future's look influence what is designed now? When architects design a building that is suppose to represent innovation, were they inspired by what was seen to come by moviemakers? I found the affirmative to be a convincing position given a recent article on LifeEdited that discusses new ecological design. One of the firms interested in such ventures previously produced a design for a building called Kingdom Tower:




It looks to be very reminiscent of cityscapes produced in Metropolis



 and Minority Report:

I could be drawing parallels where no real intention by designers exists, but I think these similarities bring up an interesting question: do we plan according to a plan we've been taught? It's well understood, by most, that people adhere to a set of preferences and expectations, but how many options are really available for satisfying them? And would an awareness of the lack of options constrain or inspire an individual? How does one react to existing within a set of rules/laws/systems, as all humans do?

It may be that the most creative people are the ones who can produce original, interesting work within a set system. This is an idea that relates to the process of book-cutting. A book is a physical object that can only be manipulated in a set number of ways. Yet, everyone in class is able to produce at a minimum of three original solutions to the task. To some degree, we never leave the original form thought up by the author (perhaps like how an architect must adhere to public opinion and physical practicalities of building structures), but looking at these expectations rather as materials than constrictions may produce an original tower (that may nod to all thoughts of building design that came before whether they be fictional or the Empire State Building).

So often artists are made to be afraid of rules and conventions, that they are a threat to creative integrity or homogenize work. But the musicians, filmmakers, and thinkers that we so admire learned what was already done before they produced their own--and often greatest--works. For instance, writing at a certain time or for a certain time each day does not limit the oncoming of inspiring moments where one feels they must write, but it reminds the writer of their craft and that motivation is separate from inspiration. And it prepares them to handle an idea when it comes.

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