1. What does Agrest say is “one of the most important operations that articulates theory and practice?”
2. Agrest says architecture is produced by drawing, writing, and building. Are there other options or does everything fit into one of these categories?
3. Agrest talks about how architecture has related to other practices such as painting and photography (pg 167). What other practices influence your designs and how you represent them?
4. Does Agrest's argument that the cultural reading of the city is a “complex and constantly changing phenomenon of shifting relationships, always incomplete and imperfect, and subject to one major force: chance” apply to Milwaukee?
5. Agrest says that two situations have resulted from computers: a resurgence of perspective and the reunification of representation and the process of construction. Do you agree?
6. Tufte says the PowerPoint reflects the company that built it. (Conway’s Law, pg 161) Does this idea apply to other companies, specifically architecture firms and the designs they create?
7. The slide about the Challenger damage (pg 164) is a good example of presenting information to receive a particular response. How can this be done when presenting a final studio project?
8. Tufte says that “the quantity of detail is an issue completely separate from the difficulty of reading.” What examples of this have you experienced in studio projects?
9. Tufte claims there are no coherent software for serious presentations (pg 183). Is this true? What software do you use for studio presentations?
10. Tufte says that a single piece of paper can say a lot more than many PowerPoint slides. What says the most for a studio project? (rendering, diagram, written description, etc.)