What do we mean by consistency? I know some people are going to say: "Hey! That's Dan Flavin's act. Why in the hell is Irwin doing a Dan Flavin? Why is he suddenly so inconsistent – fluorescent one day and Cor-Ten the next?" The key to all of this is that we have to examples what we mean by consistency. And here the critical question is: "what do we use to measure consistency with?" If you measure consistency in terms of material, or gesture, then I will be found inconsistent. But, in all of the recent pieces and proposals, if you go to the actual site and look at it, you will find that the solution is absolutely consistent on the grounds within which it responds to its environment. This in turn is consistent with my development of the implications implicit in non-object art. Robert Irwin, Robert Irwin: A Conditional Art consistency
What's suitable for each unique condition What of machines and prefabrication? How do they compare? Well, the machine has its limits. We, using handcrafted methods, do things that machines cannot do. Of course, it's not fast like a machine. And in complicated areas like here, things wouldn't go the same using a machine as it would by hand. We use numerous variations of all these connecting and splicing joints. Using a machine, [the wood joints] can all be made uniform, but really, we need to consider whether that's a good thing. It's better to make each mechanism and joint by considering what's suitable for each unique condition. Akinori Abo, Kigumi House Chopped and disfigured contextmachinesconsistency
The iMac Ive and his team worked with Apple's Korean manufacturers to perfect the process of making the cases, and they even went to a jelly bean factory to study how to make translucent colors look enticing. The cost of each case was more than $60 per unit, three times that of a regular computer case. Other companies would probably have demanded presentations and studies to show whether the translucent case would increase sales enough to justify the extra cost. Jobs asked for no such analysis. Topping off the design was the handle nestled into the iMac. It was more playful and semiotic than it was functional. This was a desktop computer; not many people were really going to carry it it around. But as Ive later explained: Back then, people weren't comfortable with technology. If you're scared of something, then you won't touch it. I could see my mum being scared to touch it. So I thought, if there's this handle on it, it makes a relationship possible. It's approachable. It's intuitive. It gives you permission to touch. It gives a sense of deference to you. Walter Isaacson, Steve Jobs Customers don't know what they want