Many a corner office I want you to consider instead the possibility that Waterfall came to exist, and continues to exist, for the convenience of managers: people whose methods are inherited from military and civil engineering, and who, more than anything else, need you to promise them something specific, and then deliver exactly what you promised them, when you promised you’d deliver it. There exists many a corner office whose occupant, if forced to choose, will take an absence of surprises over a substantive outcome. Dorian Taylor, Agile as Trauma surpriseplanning
In ways you didn't anticipate A Quote by Patrick Hebron www.noemamag.com I always have a hard time wrapping my mind around some of the classic user questions: What is this thing for, is it for novices or professionals, etc? I do my best to avoid these questions, because the best thing you can possibly accomplish as the maker of a tool is to build something that gets used in ways you didn’t anticipate. If you’re building a tool that gets used in exactly the ways that you wrote out on paper, you shot very low. You did something literal and obvious. All sorts of ways to use the machineHacking is the opposite of marketingStretching the productThis tactile form of doodling toolssurpriseux
To absorb it or build your own Robert Smithson and other so-called land artists simply disengaged from architecture, placing their works in America's open landscape, leaving behind the museums and galleries Smithson referred to as "tombs". A new "expanded field" allowed artists to contextualize their work beyond the institutional frame of the museum or the commercial structure of a gallery. Richard Serra, who also began to move outdoors, at times chose to "attack" architecture, creating structures that disrupted or overwhelmed the buildings around them. The artists of the Light and Space movement took another tack. Rather than fight or flee the architecture, they explored and manipulated it, approaching architecture as a kind of found object, creating a series of rooms that incorporated architecture and architectural structures directly into their art. Bruce Nauman summarized it well: "When you work in a gallery or museum, the architecture is a given. If you wanted to have a show, you didn't have a choice, except to deal with it. You had to find a way to either absorb architecture into the piece of build your own." Michael Auping, Stealth Architecture: The Rooms of Light and Space Conditional art architecture