and volume 01
DESCRIPTION
AND is a student-produced pamphlet series at the Taubman College of Architecture and Urban Planning that promotes and publicizes the idiosyncrasies of a design culture through active collection and critical curation of architecture and design constructs.TRANSCRIPT
Interactive mechanisms would be given out in the form of a modular kit of parts, each containing four input mechanisms along with four outputs. These set-ups have been selected to yield long-term benefits, while awarding city dwellers with the instant gratification of an interactive urban fabric. In opposition to the deliberate assigning of these mechanisms to specified areas, their placement is in the hands of the city dweller, who is more readily able to assign them to places of necessity.
INPUTS
OUTPUTS
Rangefinder
LEDs
Pressure Sensor
Projector
Gas Sensor (CO2)
LED Matrix
Microphone/Recording drive Nuvoton ISD1700 chipcorder
Code
The input/output board uses an intermediate processing language which is incredibly
easily picked up an manipulated. Here is an example of the most basic code.
int ledPin = 13; // LED connected to digital pin 13
// The setup() method runs once, when the sketch starts
void setup() {
// initialize the digital pin as an output:
pinMode(ledPin, OUTPUT);
} void loop()
{ digitalWrite(ledPin, HIGH); // set the LED on
delay(1000); // wait for a second
digitalWrite(ledPin, LOW); // set the LED off
delay(1000); // wait for a second
}
I. Input:Motion Output:Illumination
I. Input:Gas Detector Output:LED Matrix
I. Input:Microphone Output:Chipcorder
I. Input:Pressure Sensor Output:Projector
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city detroit
detroitdetroit
detroit
midtown site
sitePackard Plant-Historical Gesture
Bankers Trust Building-Chemical Awareness
welcome to ...the name itself is inclusive. this pamphlet series sets out to actively seek, document, and distribute great, interesting, and provocative ideas. purposely searches for the “other”, the “extra-”, the “because-you-wanted-to”—not only within this school but across disciplines, into business ventures, and anywhere else it can go. is less concerned with the rigors of the design studio and instead pursues the moments of necessity, the impulse to make, and the otherwise unnoticed. is quick and dirty, off-the-cuff. More recent and more often; but never acritical. is responsive to the work it receives, and its critical take is determined by its contents. It is a curatorial effort. is what you make it.
[vol. 1] is printed in a single edition of 1000 copies at Michigan Web Press. and hopefully unsolicitedly printed in
hundreds of other editions on plotters, copiers, and printers nationwide.
typeset in Fishmonger by Suitcase.
creators and editors:Brieana MacDonald
Mary O’MalleyMark Stanley
our hope is that you keep this valuable artifact forever. If you choose not to, please recycle it.
its tough to create a single document from so many different pieces of
work. If we didn’t find a way to get you in this time, keep in mind what
Journey has taught us so many times:
liberate !the choice is yours: trim or unbind.This book is designed, printed, and folded in such a way that
it works as both a poster and a book. You can either trim it
on three sides, or unbind it forever.
a facial-hair cult sensation
three kids on bikes in michigan
an app that never falls asleep
two scripting/processing adventures
a maritime messenger company
two remodeled offices in downtown detroit
a desktop agricultural experiment
a trend-bucking competition entry
a sparse-urban mapping exercise
a junkyard shelter creation
two approaches to illumination
an essay on mcdonald’s and hipsters
“Brisn Shirts” / dwight song / 3G06
“The Rusty Mitten” / ashley hetrick / samantha senn / jamie wilson / 3G04
“Wake Up!” / gopalkrishna sharma / Computer Science Engineering, BSE 2010 / http://umich.edu/~gopalkri/
“Yanni” / Nick Senske / [degree phase] // zunheng lai / UG03 / http://reas.com/
“Teamwork Bags” / justin mast / nick stygstra / NickStockton / 3G02 / http://www.teamworkbags.com
“max_ed out” / marc maxey / ellen donnelly / 3G5 / MSc09 // “wyld” / lisa sauve / adam smith / 2G01 / http://synechdochedesign.com
“Apartment Farmer” / les key / 2G03 / http://apartmentfarmer.blogspot.com/
“rouse_D” / chris johnson / UG03 / http://chmijoss.blogspot.com
“Detroit Analysis” / david theisz / UG03
“ReFab” / mclean echlin / materials science & engineering, PhD Candidate / paul tierman / brian trump / 3G06 / http://grocs.dmc.dc.umich.edu/~refab/
damon faulkner / 2G03 // paulis austrins / 3G06
“SubCity” / marc maxey / 3G05
[vol 1.] what’s inside:
“Don’t Stop Believin’!”
“If you’ve been in Ann Arbor long enough, you know that the buses can take forever to get from place to place. You’re also probably sleep deprived most of the time. Wouldn’t it be awesome if you could just doze off on the bus and not have to sleep in fear of shoot-ing past your stop? Yep, that’s exactly what “Wake Up!” does.”
McDonalds corporate strategy is based upon the notion of power. According to their corporate
pod-casts “McDonalds USA is operating from a most definite position of strength.” As a way
to gain market share from Starbucks, McDonalds is positioning itself to become what it calls
“a beverage destination”. This strategy of power has been with the company for many years,
and therefore has been with us just as long. The McDonalds birthday party is a day of power
and indulgence; to consume, entertain, desire, and celebrate all the while wearing a crown. As
McDonalds has sown its seeds deep within our collective memory it has grown and evolved
along with its consumers needs and wants.
More recently McDonalds has launched the Dollar Menunaire campaign. According to the ad
agency’s website,
“McDonald’s Dollar Menu lets you eat like a hero for not a lot of money. But getting a good
deal isn’t just about saving money once in a while; it’s about a lifestyle. The Dollar Menunaire
lifestyle.”
The latest iteration of the campaign is The Reality House, which I would argue is one of their
most culturally complex projects on McDonalds.com. This advertising campaign strategically
articulates a collective cultural memory of gen-x through y as those who watched the birth
of reality TV shows, most notably MTV’s The Real World, which first aired in 1993, and is now
in it’s 21st season. The McDonald’s reality house adopts a similarly conflicting mix of people
representing larger cultural identities defined by stereotypes. Paul the Menunaire is the main
character, who is socially omniscient and steeped with a nonchalant confidence.
Looking closely at the character profiles, one quickly learns of the carefully composed
personalities of each member of the house. The housemates reflect past MTV real world
personalities, as well as generalized stereotypes held collectively in America’s consciousness,
like Farida the quintessential “Goth” or Ben, who is the passive, sensitive “emo-artsy” type that
likes Robert Rauschenberg, and spends his time decorating high-end boutiques, according to his
profile page.
Paul, the Menunaire, is a cultural hybridization of social constructs the creators mashed up to
form a complex interplay of stereotypes that leaves the viewer amused, but also empathetic.
Paul is culturally omniscient, and plays off of a societal fear of categorization that is clearly
illustrated through reality television shows. To view MTV’s Real World from home as an
[continued online...]
“synecdoche - (si-NEK-duh-kee) “simul-taneous understanding” representing a part of a whole in which a material in-sinuates the object being referred to.”
here we are ....... and here we go:
this being the first issue, we’d like to emphasize and clarify
a few things. This series is still finding its baby legs; its
identity is still floating. Its success depends on the reception
of this, the first issue, and response to the second issue. We
hope this first issue gives you an idea of what we after, and
furthermore, we hope you’ll push the boundaries with the
work you send in. is supposed to be quick and easy - for
everyone. It should be easy to submit work to, easy to make,
easy to look at. We hope this pamphlet series survives long
after we’ve left this school, and its survival depends on the
relative ease of its production and the increasing potency
of work within. If this small book sparks your interest, then
get your mind going for volume 2! You shape what we make!
There’s no need for intense preparation, feverish pdf making,
or laboring over what is appropriate to send in...just have fun.
this is only the beginning. continue this publication @
it’s bigger than just paper; it’s ideas.
either...... or ...
number 11 blade
stapler remover
andvol 1
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“We’
ve b
iked
thr
ough
hun
dred
s of
mile
s of
fa
rmla
nd, h
uge
rolli
ng h
ills
of o
rcha
rds,
dow
n (w
hat
we’
re t
old)
is t
he w
orst
str
eet
in F
lint,
borr
owed
car
s fr
om s
tran
gers
-tur
ned-
frie
nds
at c
ampg
roun
ds a
nd p
laye
d in
lake
s al
l ove
r.
We
wer
e he
lped
alo
ng t
he w
ay w
ith f
ruit
to
eat,
plac
es t
o sl
eep,
spa
re t
ubes
to
use,
fun
pl
aces
to
visi
t an
d so
meo
ne e
ven
gave
us
$20
(he
mad
e us
tak
e it!
) to
go t
ry t
he b
rew
s at
Be
ll’s
Brew
ing
Com
pany
. No
t to
sou
nd li
ke a
to
tal a
dver
tisem
ent
for
Mich
igan
, but
I go
tta
tell
you,
thi
s st
ate
is q
uite
am
azin
g.”
“interestingly enough, the hood of a red chrysler fits w
ith a blue ford pretty w
ell to keep the rain out”
“[(P
atte
rn)+
(Rul
es o
f re
piti
tion
)]x(
A co
ntro
lled
rand
omne
ss)
= A
delig
htfu
l com
plex
ity
:-)”
[damon]: “Mark, can I cut this on the laser?”[krecic]: “Oh, no. Stinky, stinky, burn, burn...”
“So I had to cut all the pieces by hand.”
“we have some revolutionary values and ideals, but doesn’t everyone? we likegetting our hands dirty.”
“This is especially setup so that the connections themselves can only be seen when there is a light on inside the structure. When the light is off, you have the impression of a single surface, but when the light is on, it reveals additional complexity. In my huge amounts of spare time I am also writing a script so I can make the process parametric. They are also setup so that they can be cut out of regular 8.5x11 paper.”
“I like the idea that, before too long, designers might conjure up artificial life with the same ease and intent as they apply a Photoshop filter.”
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