ABSTRACT
It shows how the IP system reduces the embodied and affective dimensions of the design process to representations and consequently both devalues the creative labour of architectural formal production processes and overestimates their power to determine formal products. At the trial, Justice Jacobs untangles Pearce's Original expression by following the representational model. Deleuze argues that common sense is agreed by men of good sense as evidenced by the perception of similitude, which in this case sees the buildings as dissimilar, thereby failing the resemblance test which forms the first illusion of representational thinking. The common sense of IP privatises potential that people all share access to by claiming it as proprietorial representations. Projection insists that the committed human labour of design is made an explicit part of the epistemological explanation of process and product in parallel, with both understood as serially composed manifestations of the power and potential of creative, differential relations.
