OPPOSITION/COMPOSITION
Spring 2018
Instructor: Reto Geiser
The objective of the hypothetical publication was threefold: to deconstruct a prolific architectural publication from the 20th century, reinterpret the content in a visually refreshing way, and produce an entirely new book from images appearing in the original publication. In response to the brief, Opposition/Composition questions the role text and images play in the telling of a narrative—in stripping images from their textual context and appropriating them for a new narrative with a new script, are the original images destroyed?
Oppositions 11 provided the source images for an imagined magazine titled Iconoclast. With a graphic identity inspired by counterculture zines of the 1970s and ‘80s, Iconoclast takes no shame in its definitively bold stance to the question above—yes, when repurposed for an alternate use, an image loses its original meaning. As a result, Iconoclast dismantles images with death and destruction iconography originally found in Oppositions 11, and uncomfortably crops, defaces, and distorts what these images stand for in an entirely different context.
Spring 2018
Instructor: Reto Geiser
The objective of the hypothetical publication was threefold: to deconstruct a prolific architectural publication from the 20th century, reinterpret the content in a visually refreshing way, and produce an entirely new book from images appearing in the original publication. In response to the brief, Opposition/Composition questions the role text and images play in the telling of a narrative—in stripping images from their textual context and appropriating them for a new narrative with a new script, are the original images destroyed?
Oppositions 11 provided the source images for an imagined magazine titled Iconoclast. With a graphic identity inspired by counterculture zines of the 1970s and ‘80s, Iconoclast takes no shame in its definitively bold stance to the question above—yes, when repurposed for an alternate use, an image loses its original meaning. As a result, Iconoclast dismantles images with death and destruction iconography originally found in Oppositions 11, and uncomfortably crops, defaces, and distorts what these images stand for in an entirely different context.
