A team at the Harvard Innovation Lab undertook a project to reveal how desktops have evolved since the first personal computer appeared 35 years ago. Photographed by dougthomsen.tv and engineered by anton georgiev, the video version below shows how office necessities (e.g., Rolodex, reference books, hand-held calculators) have gone from the actual to the virtual, from physical objects to digital apps. The video, as seen on Designboom.com, is a fascinating look at how technology has transformed office tasks. It also suggests that offices of the future should be redesigned accordingly. Corporations once filled vast high rises with thousands of employees, hundreds of file cabinets and office equipment, and rows of clerical help to handle all kinds of paperwork. Today “offices” are essentially portable. Workers don’t have to be tethered to their desks. They can stuff their laptop and mobile phone in their backpacks and set up shop anywhere. So, what is the purpose of gathering employees into a single workspace? What kind of furniture and equipment will make workers more productive and more collaborative? With so many documents stored in the clouds instead of in metal file cabinets, can the physical office layout be sized to take up less square footage? It’s time to occupy no more space than we really need.
While thumbing through Austin Kleon’s book “Steal Like An Artist; 10 Things Nobody Told You About Being Creative” (Workman Publishing), we happened upon a graphic sketch that Kleon admits he “stole from his friend Maureen McHugh.” It spells out seven phases in the “life of a creative project” from an emotional perspective, not the usual process steps – e.g., concept development, research, storyboards, etc. It shows that for most of us in creative fields, projects proceed along two parallel tracks: one cerebral and dedicated to problem-solving, the other moody and erratic. Because we at @issue can’t leave well enough alone, we decided to steal McHugh’s — via Kleon’s – idea but let Kit Hinrichs embellish it with his own doodling drawings. Here it is.
Until now, 3-D mapping has largely been used to project dazzling special effects onto the facade of buildings at outdoor events. The display of colored lights, towering cascading images and shadows of dancing giants enthralled crowds. But as awesome as these performances were, they felt random and experimental, a new invention that had potential but, as yet, no defined purpose beyond a gee-whiz demonstration of its possibilities. That’s why this 3-D court projection produced by Virginia-based Quince Imaging in partnership with the Cleveland Cavaliers basketball team is so interesting. It uses 3-D mapping to enhance the excitement by integrating it into its regular program. Using a combination of 3-D mapping techniques and video content produced by the Cavaliers’ QTV team and Think Media, Quince transformed the court surface and surrounding screens into an immersive video environment. The system was comprised of 16 HD projectors, creating a pixel space of 3600×1878.
Anthimos Xenos in Athens, Greece, produced this animated introduction for the Greek environmental television network, EcoNews. For the 30-second video, Xenos served as art and creative director, motion designer and 3-D animator, and completed the project from start to finish in one month. Music and sound compositing was by Xenakis Lefteris and additional direction by Nikos Tsimouris. In February 2013, Xenos founded his own firm, Darling Creative Motion, in Athens, to focus on TV branding and advertising.
Jonathan Hoefler and Tobias Frere-Jones of the influential type foundry H&FJ in New York City were recipients of the prestigious AIGA Medal this year. This video, created by the New York design studio, Dress Code, was shown at the Medalist dinner in April. Here, the two talk candidly about how they approach type design and talk about why it takes them a decade to get each project ready for release.
It looks like a gigantic tumbleweed rolling across the plain, but its purpose is deadly serious. Massoud Hansani, a designer and Afghan refugee, created a landmine detonator as his final graduate design project at the Design Academy in Eidenhoven, the Netherlands. For Hassani, whose native Afghanistan is one of the most heavily mined countries in the world, a minesweeper seemed like a practical object that would be in widespread demand. According to the UN, more than 110 million active mines are scattered across 70 countries, with an equal number stockpiled waiting to be planted.
Ireland’s creative community came up with an interesting way to let off steam and help a local charity at the same time. They invited their colleagues to design posters featuring some of the crazy comments and requests their clients have made over the years. Organized by Dublin-based agency, Mark & Paddy, the Sharp Suits project drew the enthusiastic participation of art directors, designers, illustrators and other ad agency types. The “Creative Catharsis” posters were exhibited at The Little Green Café, Bar and Gallery in Dublin and sold for 10 euros a piece, with proceeds benefitting the Temple Street Children’s Hospital of Dublin. We suspect that the project equally benefitted the artists who alleviated their stress by gleefully quoting their clients, and an appreciative audience that identified and empathized with the subject matter, taking heart in the fact that they weren’t the only ones who had to endure such “helpful” critiques of their creative effort.
Is it possible to brand a thrift store stocked with donated goods and make it a look like a place where you’d want to shop? Goodwill in San Francisco is doing just that by giving its in-store signage, website and fleet of trucks a complete makeover.
Rob Forbes, founder of Design Within Reach, has founded another company – Public Bikes. To introduce consumers to his new venture, Forbes recruited 27 world-renowned designers and illustrators to create art posters around the concept of “public.” All of these posters are being gathered into a book called “Public Works,” sold as individual posters, and shown in exhibitions slated for San Francisco, Los Angeles and New York City.
Forbes, an avid biker, urban dweller and environmentalist, explains the impetus for his Public Works project was to bring greater attention to the critical issues of public space, access and livability of cities. “In recent decades, our cities have been evolving from manufacturing and industrial centers into cultural hubs,” Forbes says. “The 20th century movement that encouraged people to leave cities for the suburbs has now been reversed. For the first time in our history the majority of the world’s population lives in cities, and this trend appears irreversible….People choose cities for what they offer: connections with people, ideas, stimulation, opportunity, creativity, and diversity. Our public spaces should facilitate these connections, not stifle them.… We believe that more of our urban streets and sidewalks should be reclaimed for walking and bicycling, and that our public spaces should be developed for better human interaction and conversation.”
This looks like a high-school science project, but it is really a commercial for Asics new Gel-Blur 33 athletic shoes, which Asics claims offers lightweight, cushioned comfort to all 33 joints in the foot. To illustrate the tagline “Gravity, Meet Your Archenemy,” Southern California-based creative agency, Vitro USA, strung multi-colored ping pong balls on fishing lines and pumped compressed air into a glass chamber, causing the balls to rise into the shape of an Asics 33 shoe and float in space. As with some of the amazing 3-D projection mapping videos now coming out, the behind-the-scenes making of this commercial needs to be seen to appreciate the feat achieved.