Originality is overrated. Originality takes over the complex nature of a design process and disguises the final result as a product of a unique and incomparable individual gesture. It is an inherited paradigm of modern architecture that contrasts with an era ruled by the overproduction of information –an era when everything is known. The daily-updating landscape of projects nourished by blogs, websites and magazines is crowded with descriptions that speak about originality, despite the paradoxical multiplication of the same ‘unique solutions.’

In this environment, it is the significant load of the traditional notion of originality that impedes a more conscious, critical, and innovative approach to the collaborative potential that this landscape offers to contemporary architects. The never-ending wave of architectural products that surfs our screens calls for strategies of appropriation that leave behind the reductive influence of the ‘genial idea’ (or final image) and focus on the process of activation of existing architectural solutions. By using recycled forms in the materialization of an idea, it is possible to flee from the limits of the preconceived solution and to project an architecture that actively responds to the manifold factors that influence a design process. We call this strategy ‘postproduction’

Postproduction means to generate alternative paths using the objects produced by a particular environment. It forces the architect to participate in an existing conversation and to bring about new words, new questions that perhaps were forgotten in the original discussion. It means reprogramming the signifiers of a particular speech to articulate alternative conversations. As a didactic tool, postproduction requires an intense look at the fragments of architectural information that are reused, fostering a deeper understanding of the sources. In addition, it requires a high degree of abstraction and intelligence to separate from the contingent conditions that materialized the fragments, in order to synthesize the primary qualities of the object and to inject them in new scenarios. As a design strategy, postproduction makes the source of a project public, allowing for a disclosed reading of the creative process and fostering a potential collaborative practice with additional agents.

Using postproduction, the lab will navigate with agility the informational maelstrom, activating existing fragments to inject their individual questions to the general conversation held during the Flee Market seminar.

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