Showing posts with label inspiration. Show all posts
Showing posts with label inspiration. Show all posts

Thursday, October 18, 2012

National Design Awards 2012 :


http://www.cooperhewitt.org/national-design-awards


National Design Awards

The National Design Awards program celebrates design as a vital humanistic tool in shaping the world, and seeks to increase national awareness of design by educating the public and promoting excellence, innovation, and lasting achievement.

Meet the 2012 Winners

Lifetime Achievement: Richard Saul Wurman

Spurred by the dance between his curiosity and ignorance, Richard Saul Wurman, FAIA, seeks ways to make the complex clear. Described by Fortune magazine as an “intellectual hedonist” with a “hummingbird mind,” he has written, designed, and published eighty-three books (and counting) on topics ranging from healthcare to atlases and the Olympics. He reinvented the guidebook in 1980 with the ACCESS series. Wurman received his degrees in architecture from the University of Pennsylvania and originated the term “information architecture.” Wurman created and chaired the TED, TEDMED, and EG conferences in 1984–2002, 1995–2010, and 2006, respectively. In 2012, he developed the WWW conferences celebrating improvised conversations, or “intellectual jazz,” and continues to work on his global cartographic initiative, 19.20.21. Wurman will receive the Gold Medal for Outstanding Contribution to Public Discourse by Trinity College Dublin in October 2012.

Design Mind: Janine Benyus

Janine Benyus is a biologist, innovation consultant, and author of six books, includingBiomimicry: Innovation Inspired by Nature. In 1998, Benyus cofounded Biomimicry Guild, the world’s first bio‐inspired consultancy, bringing nature’s sustainable designs to over 250 clients, including Boeing, Nike, General Electric, Herman Miller, HOK, IDEO, Interface, and Proctor & Gamble. In 2006, Benyus cofounded Biomimicry Institute, home of AskNature, an online library of life’s best ideas. In 2011, she launched Biomimicry 3.8 to certify and nurture the growing network of biomimicry professionals. Benyus has received numerous awards, including the 2011 Heinz Award, and was TIME’s International 2007 Hero of the Environment.

Corporate & Institutional Achievement: Design that Matters

Conceived by graduate students at the MIT Media Lab in 2001, Design that Matters is a nonprofit design company that partners with social entrepreneurs to design products that address basic needs in developing countries. Led by cofounder Timothy Prestero, over 850 academic and professional collaborators have worked together to create dozens of product concepts, including a projector for nighttime adult literacy education in Africa, a low cost neonatal incubator using spare car parts, and, most recently, a phototherapy device for treating newborn jaundice in Vietnam. Design that Matters has captured the public’s attention through its award-winning creations and innovative, human‐centered approach to product design.

Architecture Design: Mack Scogin Merrill Elam Architects

Mack Scogin and Merrill Elam have worked together in architecture for over forty years. Founded in 1984, their Atlanta-based firm, Mack Scogin Merrill Elam Architects, has won international acclaim for work that ranges from a sleek factory for Herman Miller to the Lulu Chow Wang Campus Center for Wellesley College and commercial office space for Tishman Speyer Properties. The firm’s diverse body of work is uniquely characterized by profound rigor tempered by childlike innocence. Mack Scogin Merrill Elam Architects has been recognized with numerous awards and publications and their work has been shown at museums such as The Museum of Modern Art and The Walker Art Center.

Communication Design: Rebeca Méndez

In a career spanning almost thirty years as a designer, creative director, artist, and educator, Rebeca Méndez has focused on the critical reflection of visual communication practices around issues of organization, culture, and identity. Méndez is a professor in the Design Media Arts department at UCLA. Since 1996, she has run a multidisciplinary studio based in Los Angeles, Rebeca Méndez Design, focused on design for art and architecture clients including Frank Gehry, Thom Mayne, and Bill Viola. Her work has been exhibited in venues such as the Centre Pompidou, San Francisco Museum of Modern Art, and Cooper-Hewitt. The recipient of numerous awards, Méndez lectures widely around the world, including a TEDx Talk in 2011.

Fashion Design: Thom Browne

Thom Browne’s meticulous aesthetic is rooted in an American sensibility evocative of the late 1950s and early 1960s. Browne opened his doors in the fall of 2001, offering bespoke tailored clothing; he introduced ready-to-wear menswear in 2004 and womenswear in 2010. He designs the Black Fleece by Brooks Brothers collection for men and women as well as a line of men’s jewelry for Harry Winston. In 2009, Browne introduced the Moncler Gamme Bleu collection. He was named Menswear Designer of the Year in 2006 by the CFDA, Designer of the Year in 2008 by GQ magazine, and Most Influential Designer—Menswear in 2010 by WGSN.

Interaction Design: Evan Roth

Evan Roth is an interaction designer who visualizes, records, and subverts transient, often unseen moments in public spaces, in popular culture, and on the Internet. His approach takes inspiration from the free software movement and hacker ethos, leading to such notable pieces as Laser Tag, White Glove Tracking, Eyewriter, and a collaboration with Jay-Z on the first open-source rap video. Roth is cofounder of the Graffiti Research Lab and the Web-based, open-source Free Art & Technology Lab. His work is in the permanent collection of The Museum of Modern Art and has received numerous awards, including the Design Museum London’s Design of the Year.

Interior Design: Clive Wilkinson Architects

Clive Wilkinson Architects is a distinguished architecture and design practice based in Los Angeles, which collaborates with clients to design and build creative communities. The practice has completed creative projects across the globe for clients such as Google, Nokia, Twentieth Century Fox, and Disney, winning over seventy-five awards in the process. In its work, the firm strives to connect people, shape relationships, and empower organizations to produce invigorating forms of community. Clive Wilkinson was inducted into the Interior Design Hall of Fame and has been named a Master of Design by Fast Company magazine and a Pioneer of Design by the IIDA.

Landscape Architecture: Stoss Landscape Urbanism

Stoss Landscape Urbanism is a Boston-based collaborative design and planning studio that operates at the juncture of landscape architecture, urban design, and planning. The firm was established in 2000 by Founding Principal Chris Reed; Scott Bishop joined as Associate Principal in 2005. Stoss has distinguished itself by utilizing a hybridized approach rooted in infrastructure, functionality, and ecology. The firm’s projects include The CityDeck in Green Bay, Erie Street Plaza in Milwaukee, The Plaza at Harvard University in Cambridge, and Bass River Park on Cape Cod. In 2010, Stoss became the first North American firm to win the Topos Landscape Award.

Product Design: Scott Wilson

Scott Wilson is the Founder and Principal Designer of the Chicago-based studio, MINIMAL. A former design leader at Nike, Thomson Consumer Electronics, IDEO, Fortune Brands, and Motorola, he has created some of the world’s most recognized consumer design icons, including MINIMAL's collaboration with Microsoft on Kinect for Xbox 360 and TikTok and LunaTik watches for the iPod Nano. Equal parts visionary and entrepreneur, Scott Wilson delivers disruptive yet thoughtful solutions to markets across a range of industries. His work has been recognized with over fifty international design awards and has been exhibited at Cooper-Hewitt, The Museum of Modern Art, and the Art Institute of Chicago.

Design Patron: Red Burns

Red Burns is an arts professor and chief collaborations officer for the Interactive Telecommunications Program (ITP) at the Tisch School of the Arts at New York University. She founded the department in 1979 as the Alternate Media Center, and until 2010 served as ITP chair. During the 1970s, she designed and directed a series of projects including a a CD-ROM on chaos theory and a two-way television for and by senior citizens—one of the first Teletext field trials in the United States. Burns has been recognized with numerous awards and honors including a Webby Special Achievement Award in 2011, a Lifetime Achievement Award from Canadian New Media in 2009, and the Mayor of New York’s Award for Excellence in Science and Technology in 1998.

Monday, September 10, 2012

Interactive Design: Lisa Strausfeld


Infomaniac: Lisa Strausfeld

After seven years as Pentagram's digital artiste, now she's ready for a real challenge: redesigning government.

Related Content

Imagine that data about Medicare costs or the pileup of national debt could be as cool and compelling as an iPhone app or a killer interactive graphic on ESPN.com. Would more people pay attention? Would it change the debate? Would we make better decisions?
"I'd love to do a project making government activity a spectator sport," says Lisa Strausfeld, late one summer afternoon in the Manhattan offices of Pentagram, where she's a partner specializing in information-focused design. "If we could be as obsessive with government data as we are with baseball stats, maybe it would change the form of democracy."
A wisp of a woman with a soft, tentative way of speaking, Strausfeld hardly fits the image of a wrangler capable of taming beastly chunks of data. But in fact she has an extraordinary capacity for structuring and displaying information. "She's a natural to work on transforming the infinite depths of data about our urban environment into patterns that reveal other patterns," says TED founder Richard Saul Wurman, who got to know Strausfeld during her days at the MIT Media Lab. "She'd be on my chart of the top information architects. She'll be a formidable figure."

The Interactive Installations
Strausfeld, 44, did not seek out her strange perch at the top of design's geekiest subculture. Growing up in central New Jersey, one of a set of twin daughters of an ob-gyn and an urban planner, she wanted to be an architect. At Brown, she majored in art history and computer science, giving her an odd-but-useful combination of skills, one she took with her into the architecture program at the Harvard Graduate School of Design. There, Strausfeld learned a rigorous process for taking an idea from conception to final result. "I learned what to do in the middle," she says, "and that training really helps me to this day."

The architectural process, she says, relies on conventional forms of representation: the plan, an ascension, elevations, and models. With Web design, her challenge is to invent a similar process with wire-frame diagrams. For each project, she says, she has to figure out the process anew. "It's not a formula. It has to be invented each time." Often, she says, "the first step is to take all the content and imagine that it lives in one space." Sometimes she dumps all the content into one view, or prints it all out, allowing her to see all the information at a glance. Unlike most traditional Web design, which starts with a top-down hierarchy, Strausfeld prefers to design from the bottom up, pulling the most relevant data to the top.
That's now. But back in 1991, it looked as though all of Strausfeld's fancy architectural learning would be for naught. Graduating into the midst of a severe recession, she headed ("for love") to Austin. After weeks building models for $10 an hour, she remembers floating on a raft in a swimming pool and realizing she still couldn't pay the rent. A few days later, she picked up the phone, called a recruiter at Motorola, and accepted a job offer to do layout design for memory chips. Then she wept.
It was an inauspicious start to a brilliant career. Her shyness often kept her from asking questions, but she taught herself the job from various manuals and brushed off the programming skills she'd acquired at Brown. "I just got back into it and fell in love again," she says. The Internet was in its infancy; the Web was a germ of an idea.
Two years later, still in denial that she was leaving architecture, she applied to MIT's Media Lab, reminding herself that founder Nicholas Negroponte, himself an architect, had originally called it the Architecture Machine Group. It was there she met Muriel Cooper, cofounder of the Visible Language Workshop, whom the International Herald Tribune called "the unsung heroine of on-screen style." Cooper died of a heart attack a year into Strausfeld's stint, but their relationship was so transformative for Strausfeld that she later named her daughter Muriel.
Cooper could barely work a mouse, Strausfeld says, and insisted that her students focus on the experience of the design rather than on the underlying code. "Muriel forbade technology discussions at the Media Lab," Strausfeld says. "She insisted they be taken into another room."
Cooper's mantra was that good design is good design, regardless of the medium, a position Strausfeld has shared with her current colleagues. "I don't like technology because I don't like to talk about technology," says Pentagram partner Paula Scher. "As soon as somebody says 'Flash' or 'HTML,' I don't want to have the discussion. But what Lisa told me about Muriel was spectacular. Now I can avoid that discussion because it's no more relevant than knowing how color separations work."
It took the rest of the world quite a while to catch up with Cooper's insight. Meanwhile, Strausfeld and her digitally adept peers benefited from the generalized anxiety most clients felt about Web design. "I was given many design opportunities because of my knowledge of the medium," she says. "In the end, all we were doing was design. Clients were most insecure about the technology; they should have been most insecure about the design."

In 1996, Strausfeld and two MIT classmates launched a software company in San Francisco called Perspecta. Essentially, Perspecta scanned large collections of documents and pulled out keywords or topics to build a dynamic hierarchy -- an automated form of the tagging system Internet developer Thomas Vander Wal dubbed "folksonomy". It so impressed Negroponte that he became an early investor. "I lost all my investment, and yet I do not look back at the experience other than fondly," Negroponte says, via email. "That speaks for itself."
Perspecta was eventually bought by Excite@Home and Strausfeld moved on to Quokka Sports, an online sports-entertainment company, where she mined data from live events to create immer-sive experiences. She wasn't a huge sports fan, but the job gave her the chance to focus on data visualization as entertainment. "I realized I wanted to design products that I would use," she says.
While attending a design conference in 2000, Strausfeld sat next to Pentagram partner Michael Bierut at a speakers' dinner. She had no idea who Bierut was but mentioned that she wanted to move beyond digital expressions of design to do more work in the real world. As it happened, Bierut was working on the renovation of New York's Penn Station with Skidmore, Owings & Merrill, and needed someone to design a large media wall display. A compromise, perhaps, but one she could live with.
A project or two later, Pentagram invited Strausfeld, who by now had moved to New York, to be a partner. Her digital chops were obviously a draw, says Scher, but that was only part of the story. "She's trained as an architect and has a totally analytical take on the organization of information," she says. "I'm much more instinctual. Our completely opposite ways of using the brain have made projects much richer." The two women collaborated on the identity and information display for the Brooklyn Botanic Garden and Bloomberg's Manhattan headquarters. Over the years, Strausfeld has amassed a stunning body of work, including the award-winning user interface for Negroponte's One Laptop Per Child computer, "The Art of Dining" installation for the Detroit Institute of Arts, and a Web site for architects Diller Scofidio + Renfro. But the world has changed, Strausfeld says, and so has she. Clients are less intimidated by technology -- and her own expertise has grown: "Pentagram has been an amazing education for me in terms of design that I wasn't that comfortable with. But I'm comfortable now... . It's time to reassert my own identity within Pentagram. I'm on the verge of creating a new script."
That new narrative seems to be taking shape. A redesign of Gallup's Web site, a new World Bank commission, a gig doing the media program for the new Edward M. Kennedy Institute for the Study of the Senate -- all bring her closer to what her long-ago mentor, Cooper, felt were important projects. "Muriel was not interested in entertainment-oriented work," Strausfeld says. "She wanted to do hard-core information design work with DARPA, financial-services companies, newspapers, really challenging information problems. I'd like more of those projects."
A trip to the White House in July as a finalist in interaction design at the National Design Awards -- a new category this year -- seems likely to bring them to her. "With this administration, Washington is sexier," she says. "The opportunity is there now to look at the experience of the data. I'm not sure how to do it, but it's time for me to jump into the fray."

Interaction Design: Bill Moggridge



about Bill Moggridge:
http://www.ideo.com/people/bill-moggridge/

Book: Designing Interactions
http://www.designinginteractions.com/bill


Wednesday, September 5, 2012

Inspiration: Mohawk Paper: branding + promotion





Mohawk Connects the Dots

Mohawk Logo, Before and After
Established in 1931, Mohawk, a fourth-generation family-owned business, is the largest privately owned manufacturer of fine papers and envelopes for commercial and digital printing in North America. Mohawk employs over 580 people and operates three paper machines in two mills in upstate New York and two converting facilities in New York and Ohio, with warehouses around the U.S.. Popular paper brands under Mohawk’s portfolio include Superfine, Navajo, Via, Beckett, and Strathmore. Last week Mohawk announced a major reinvention of their business to “thrive in today’s digital world” and today marks the launch of a snazzy new website designed by Hydrant and developed by Avatar, as well as the introduction of a new identity designed by Pentagram partner Michael Bierut and associate partner Joe Marianek.
Disclaimers: I worked for Michael Bierut at Pentagram. When I worked there I worked on Mohawk projects. Joe Marianek sometimes contributes to Brand New. Mohawk is an advertiser on UnderConsideration (starting in May). I know many of the people involved in the brand/marketing side of Mohawk. In other words, I have so much conflict of interest writing this review that you would think my pockets are lined with cash. But after six years of writing reviews I believe I have established I am fair. Lastly, all the visual assets arrived last night and there is no contributing writer up at 5:00 am, like me, to cover this identity on the same day it launches. Anyone who finds a problem with all this: deal with it.
The launch of MohawkConnects.com is the customer’s first introduction to Mohawk’s vibrant new brand designed by Pentagram, Mohawk’s primary branding agency for more than two decades. Michael Bierut, who leads the Mohawk brand team at Pentagram said, “The logo is a monogram for the name Mohawk. It’s based on the letter M, but it’s also constructed to evoke the papermaking process and the printing process, both of which involve paper going around cylinders,” he said.

The logo also speaks to the basic idea of connection, which is what Mohawk paper is designed for, “Whether it’s for a small book of photos featuring your niece and nephew or for a giant global corporation — it’s about communication,” said Bierut.
— Press Release
Mohawk
Mohawk
Mohawk
The old logo, also designed by Pentagram in 2002, was an attractive wordmark based (or perhaps purely, I can’t remember) on W.A. Dwiggins’ Metro. Nothing fancy but nothing earth-shattering either. The new “M” icon seems to take its cue from the open-legged “M” in Metro to create a lively visual element that manages to capture many of the press release talking points, from connectivity to paper-making. To me, it looks a tad more like a commercial printing company logo than a paper company because of the cylinder approach and the color overlays — it’s not an altogether bad thing, since a big bulk of Mohawk’s paper goes through big ass printers. The icon is attractive and punchy, for lack of a better word and, in contrast to the previous logo, takes prominence over the company name, now subtly typeset in House Industries’ Chalet. I’m not convinced if it needed to be set in all lowercase — the icon already conveys friendliness and the uppercase “M” would have balanced out nicely with the “k” in the end. The icon looks best when it’s in multiple colors as opposed to a single hue and definitely better than the single-color, stroke version which starts to look more like something out of a kids toy box. Nonetheless, the logo is a charming new asset to deploy anywhere from paper reams to the web.
As a bonus, the logo animates well and it even has a sound mnemonic. See it (and hear it) here.
Mohawk
Display type: Chalet, all caps only.
Mohawk
Text type: Sentinel.
Mohawk
Mohawk
Mohawk
Ream.
Mohawk
Mohawk
Mohawk
New Mohawk Product Selector by Michael McGinn Design Office. Photos by Alex Tobin.
Mohawk
Mohawk
Mohawk
In application the logo proves to be a playful element that can be blown up big really nice and it makes those color overlays stand out. The use of the medium weight of Chalet doesn’t feel like it works very well with the big bold patterning. It tries to take on a spare European feel but, to me, it starts to look cheap and generic and, instead of creating a pleasant contrast, it goes against the all lowercase use of Chalet in the logo. Overall, there is good potential in the identity and there are dozens if not hundreds of applications to experiment and take the elements in different directions (perhaps even elevating Sentinel  to more of a display use).

Monday, September 3, 2012

Inspiration: Ursonate


Golan Levin:

http://www.flong.com/projects/ursonography/




Jaap Blonk

http://www.jaapblonk.com/


From Wikipedia, the free encyclopedia
Jaap Blonk (born 1953, Woerden) is a Dutch avant-garde composer and performance artist.
Blonk is primarily self-taught both as a sound artist and as a visual/stage performer.[1] He studied physics, mathematics, and musicology for a time, but did not complete his studies.[2] One of his early influences was Kurt Schwitters, whose Ursonate he first heard in 1979; he memorized the entire work, and it became one of the cornerstones of his repertory; he has recited portions of the piece hundreds of times in various public places.

from Wikipedia

Inspiration: Letterpress & Offset Beauty



A short film about letterpress and one of the few remaining movable-type printing workshops in the UK, situated at Plymouth University, featuring Paul Collier. plymouth.ac.uk
Subtitles available here: goo.gl/iuaKY
A film by Danny Cooke dannycooke.co.uk
Soundtrack by Tony Higgins tonyhiggins.org
(Available to download here: goo.gl/exGL1)


Production of Raven’s Wing, the fall edition of COLORS limited-edition Field Notes notebooks. Incredible footage.
More info at fieldnotesbrand.com/ravens-wing/


Bleisatz Werkstatt Tutorial, a brilliant film based on a seminar from The University of Applied Sciences in Düsseldorf called “Hot Type – Hand and Work.”
Video Production: Lukas Loss & Roman Tönjes
Sound Design: Roman Tönjes
Via Coudal.
Source from TypeforYou.org

Inspiration: Shop installation



Aldo Rise Video 1 from Pentagram on Vimeo.


Aldo Rise Video 2 from Pentagram on Vimeo.

Aldo Rise Project

Wednesday, August 29, 2012

Inspiration: Logomotion



http://www.cgstudionyc.com/

Inspiration: Paper Pop-Ups


Delightful Paper Pop-Ups by Jenny Chen
Delightful Paper Pop Ups by Jenny Chen pop ups paper illustration design animation
Delightful Paper Pop Ups by Jenny Chen pop ups paper illustration design animation
Delightful Paper Pop Ups by Jenny Chen pop ups paper illustration design animation
Delightful Paper Pop Ups by Jenny Chen pop ups paper illustration design animation
Delightful Paper Pop Ups by Jenny Chen pop ups paper illustration design animation

Portland-based designer and art director Mengyu Chen is currently working on a new comic book and has mocked up some experimental pop-ups of her own design. The ideas and execution are really quite spectacular and I can’t wait to see the finished product. (via tuh dah)

http://www.thisiscolossal.com/2012/05/delightful-paper-pop-ups-by-jenny-chen/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+colossal+%28Colossal%29