Trimble Racing x Gage+DeSoto Open the Red Hook Office

TrimbleRacing_GageDesoto-RedHookOffice-1.jpgAll photos courtesy of David Trimble

David Trimble has been a competitive cyclist for years, but he became a household name in the cycling community as the founder of the Red Hook Criterium, an annual track bike-only street race in a corner of Brooklyn best known for its Ikea. (Cycling fans may remember that “Racing Towards Red Hook” premiered at the Bicycle Film Festival this year.)

He’s partnered with Gage+DeSoto—a New York-based studio that “offers marketing, branding and design services for cycling companies”—on a space in the neighborhood he calls home.

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Founder Mike Spriggs and his partner Brett Cleaver (and Dave as well) invite cycling enthusiasts in the NYC area to stop by.

This summer, we joined forces with Dave Trimble and his Red Hook Crit operation and secured some real estate in New York (in Red Hook, Brooklyn, of course). The result is what we’re uncreatively calling The Red Hook Office: part our offices, part bike studio, part clubhouse, and part storefront.

G+D will start out with shop hours on Saturdays from 1pm-6pm. We’ll be selling everything that’s available on on our site, plus a few extra goodies—including bikes from Ritte Racing. We also have an extensive library of rare, out of print, and just plain hard to find cycling publications for browsing, and our big screen TV is always tuned to classic bike racing, contemporary bike racing (¡La Vuelta!), or a perhaps a bike movie you’ve never heard of (we have ’em all).

Dave has some fine Legor bikes on the floor, as well as a formidable stash of vintage steel Italian frames that all need new homes.

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Collection SKARA

Collection SKARA was influenced by Latvian ethnography and nature.Lamp form and colour are based on Latvian ethnic and simbols. colour inspirer is Lat..

Nike is Seeking a Footwear Designer in Portland, OR

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Footwear Designer, Action Sports
Nike

Portland, OR

As our Footwear Designer II – Action Sports, you’ll produce innovative footwear designs for Nike’s Footwear Category and create a line from concept to reality under the direction of our Design Manager, Senior Designer and Directors. You’ll collaborate with our Design and Category management teams to create innovative product designs that appeal to targeted consumers and advance Nike’s design image and product performance. You’ll also proactively follow the execution of all product details, including construction, color, form, style, detail, fit, performance and cost/value requirements; produce and present materials that effectively communicate the category consumers, product concepts and creative strategy to internal and external audiences; and actively seek expert input to develop appropriate designs with regard to cost/value, fit and performance, manufacturability, sustainability, merchandising and aesthetic finish.

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The best design jobs and portfolios hang out at Coroflot.

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Workspace of the week: Cables contained

This week’s Workspace of the Week is JoyMystic’s beautifully wired desk:

Instead of an entire office, this week I chose to feature the wire wizardry of a single workstation. All of the cables as they leave the equipment are tethered to other nearby cables with what looks like plastic zip ties. These ties are extremely versatile, inexpensive, and simple to cut off if you need access to the cable. Once in a cable bundle, they are then routed onto the back side of a piece of pegboard and to the power strip, or up toward another piece of equipment on the desk top. The power strip and other wall warts appear to be tied to the pegboard with plastic zip ties, too. Finally, I also like all of the adjustable monitor arms and the peripheral stand. Thank you, JoyMystic, for submitting your desk to our Flickr pool.

Want to have your own workspace featured in Workspace of the Week? Submit a picture to the Unclutterer flickr pool. Check it out because we have a nice little community brewing there. Also, don’t forget that workspaces aren’t just desks. If you’re a cook, it’s a kitchen; if you’re a carpenter, it’s your workbench.

Like this site? Buy Erin Rooney Doland’s Unclutter Your Life in One Week from Amazon.com today.


Kiss by Z-A Studio

Kiss by Z-A Studio

Pop-up shops might be commonplace in retail but would you consider getting married in a pop-up chapel made of cardboard?

Kiss by Z-A Studio

Top: photograph by Melissa Murphy
Above: photograph by Celine Willard

Twelve couples tied the knot beneath a temporary cardboard arch by Z-A Studio in New York’s Central Park at the end of last month.

Kiss by Z-A Studio

Above: photograph by Nadia Chaudhury

The architects won a competition to design the Kiss chapel, which was constructed from 130 wedges of honeycomb cardboard.

Kiss by Z-A Studio

The structure was designed and assembled in under a week to celebrate the recently passed Marriage Equality Act of New York, which legalises same-sex marriage in the state.

Kiss by Z-A Studio

Above: photograph by Melissa Murphy

A photograph of bright red poppies printed onto billboard vinyl provided the floor of the chapel.

Kiss by Z-A Studio

This is the second Dezeen story about convenient ways to wed this summer, following a coin-operated wedding machine.

Kiss by Z-A Studio

See also: all our stories about cardboard.

Photography is by Roman Francisco, apart from where otherwise stated.

The following information is from Z-A Studio:


Kiss

Kiss is the proud winner of the Architizer + Pop Up Chapel competition. 12 couples were married in Kiss on July 30th 2011 to celebrate Marriage Equality Act of New York. Kiss was designed in two days, fabricated in three and put together in two hours at the entrance to Central Park.

Kiss by Z-A Studio

Above: photograph by Unusually Fine

Kiss is literal: two separate parts, made of the same DNA but layered differently are essentially two unique individuals that when joined together create a stable entity that is more than the sum of its parts.

Kiss by Z-A Studio

Above: photograph by Unusually Fine

Kiss is abstract: 130 components, made of the same DNA but layered differently are essentially two unique wall sections that when joined together create a stable structure that is more than the sum of its parts.

Kiss by Z-A Studio

Kiss is a playful vaulted chapel.

Kiss gages contrasting identities, it’s made of rough materials which generate delicate forms, it is sturdy like an elephant and light like a flamingo.

Give Kiss a chance!

Kiss by Z-A Studio

Above: photograph by Chiara Tiberti

The stuff Kiss is made of:

  • The chapel walls are made of stacked 96”x18”x2” honeycomb cardboard
  • The base is made of plywood
  • Everything is put together by simply using wood glue
  • The floor pattern is printed on durable adhesive vinyl (billboard material)

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Kiss has no footprint:

  • Kiss is made of recycled cardboard
  • Kiss can be re-recycled

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Kiss was concocted by: Z-A studio / Guy Zucker
Team: Harriet Bramley, Travis Lydon, Chiara Tiberti
Fabrication Assistance: Tietz-Baccon
Dimensions: 130 pieces 96”x18”x2”


See also:

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Cardboard Cloud by
Fantastic Norway
Hidden Lines
by Studio JVM
Back Side Flip 360°
by O-S Architectes

Core77 Design Award 2011: Motion for Interface, Student Runner-Up for Strategy/Research

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Over the next months we will be highlighting award-winning projects and ideas from this year’s Core77 Design Awards! For full details on the project, jury commenting and more information about the awards program, go to Core77DesignAwards.com

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froehlich_headshot_revised.jpgDesigner: Elaine Froehlich
Location: Providence, Rhode Island, USA
Category: Strategy/Research
Award: Student Runner-Up



Motion for Interface

I’m studying motion in order to understand and use it as a component in the design of digital interfaces. New computing environments need new strategies for interaction, including motion. My research explores motion into a taxonomy that describes motion within a screen, resulting in a language for motion in interface.

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What’s the latest news or development with your project?

This research shows the tip on an iceberg of possibility. I deeply believe that interfaces need to move, and that the motion should be part of the information system. Ted Nelson, technological visionary who coined the term “hypertext,” had a similar idea. He said that making software is like making movies from both conceptual and sensory perspectives.

Many times in the course of pursuing this topic I was confronted with the idea that there is a limit to the amount of motion that can go on a screen but I contend that it’s a matter of how that motion is articulated that will determine its appropriateness. Rather than literal animations illustrating this or that process, motions can indicate levels and types of changes taking place, especially when looking at flowing data.

The challenge is to understand the symbolic messages in different kinds of motions and use them to make a point. In collecting my ideas and creating the taxonomy, I encountered a couple of topics that are as opaque to me now as the whole idea of motion was in the beginning: moving texture and pattern. In these areas enormous potential waits to be uncovered.

What is one quick anecdote about your project?

From the very beginning, thinking about the problem of harnessing motion into a visible language overwhelmed me. It seemed enormous and complex beyond possibility. Motion exists in time, the uni-directional, temporal coordinate of space-time we humans find impossible to perceive. I was both intensely interested and completely out of my depth. Most of the areas I investigated were new to me. I was learning new technologies at the same time that I was trying to work out how we understand through motion in life. Finding ways to build relevant projects that would yield insight was pretty haphazard much of the time. I created simplistic investigations trying to isolate bits of motion into discrete elements. Imagine the scenario where I stood up in front of my entire program and pronounced, “Look, it’s moving left.” Multiple times.

On nice days I used to take my beach chair to India Point Park in Providence, RI to work. It’s a little strip of grass that sits between route 195 East and the northernmost point of Narragansett Bay. One sunny day I sat on my blue and white canvas chair under a tree with the bay lapping in front of me and read this quote by Atistotle: “Motus est actus entis in potentia secundum quad in potentia est; (motion is the actuality of that which is potentiality, viewed from the standpoint of potential being).” The beauty, simplicity, and poetry took my breath away. Truthfully, it made me cry.

After many semesters of thinking about motion—researching, reading and trying to understand it by making studies based on little more than hunches—the impact of the quote was staggering. I had stumbled upon it as I was preparing to write the text for the thesis document. At that point I was in darkness. I had no idea how to link my seemingly haphazard projects together to make any conclusions about motion in my thesis. Aristotle’s quote was the first piece to click. One after another the pieces fell into place during the rest of the summer and into the fall. All of the strange paths I had wandered down showed their relevance. Like a lens getting steadily more and more focused, my journey took me from deep confusion to ever more clear ideas on how to organize definable aspects of motion into a taxonomy.

Aristotle quote from “Science and the Deallegorization of Motion” by Gerald Holton, page 24, The Nature And Art Of Motion, edited by Gyorgy Kepes, New York, G.Braziller, Inc., 1965.

Read on for full details on the project and jury comments.

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Dezeen Screen: interview with Maarten De Ceulaer

Dezeen Screen: interview with Maarten De Ceulaer

Dezeen Screen: this movie by Brussels gallerist Victor Hunt reveals the story and process behind Belgian designer Maarten De Ceulaer’s bowls shaped by balloons. Watch the movie »

Ken Block’s Gymkhana Four: The Hollywood Megamercial

Posted on YouTube on Tuesday, DC Shoes‘ latest short film showcasing their sponsored Gymkhana driver Ken Block has already clocked up over 3.5 million viewings. We thought we’d flag it up as there’s some rather nice action-film-referencing typography in it –  not to mention robotic sharks, deranged zombies, pyrotechnics, massive stunts and some pretty impressive driving skills…

For those of you that don’t know what Gymkhana is (we didn’t until an hour ago), it’s a motorsport where competitors vie for the fastest time around a usually complex course – but also perform different driving techniques from spins, figure 8s and, where possible or necessary, drifting. Nothing will explain it better than this nine minute film – shot by director Ben Conrad (who created the opening title sequences for Zombieland / 30 Seconds or Less) of motion design, TV and branding agency, Logan in Los Angeles.

At nine minutes, the film is probably a little longer than it needs to be, but as a promotional film for the motorsport Gymkhana, the skills of driver Ken Block, and a plug for DC Shoes, well, it’s not bad. The film-referencing typographic work in the opening sequence was created by designer Corey Holms who now works in house at Logan. Here are a few stills showing some of the frames from the opening sequence. Can you name all the films alluded to?

There’s a behind the scenes, making-of film (but of course) too. Find it here

Credits

Director Ben Conrad
Production co Logan
Executive producer Matt Marquis
Line producer Rick Brown
Concept director Ken Block
Editor Volkert Besseling
Cinematography Stephen Blackman
Creative director Nate Morley
Creative consultant Brian Scotto
Post producer Pierre Nobile
Title design Corey Holms
Sound design Keith Ruggiero
Post supervisor Vincent Wauters
Original music by Money Mark

 

MGM Makes It Official: Files Demolition Request for Norman Foster’s Unopened Las Vegas Hotel

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MGM Resorts has finally made it official and have filed a demolition request for Norman Foster‘s unopened Harmon Hotel in Las Vegas, something they’d hinted at last month, and before then back in the fall of last year, and had likely started considering way back in 2009 when construction defects were discovered too late and the project had to be massively scaled down. The company is still viciously fighting in court with the general contractor, Perini Building, who they claim made a number of massive errors which caused unsafe, unstable conditions and resulted in an unfinished building that cost nearly $300 million but is still unusable. However, it’s that ongoing legal fight that may stall the demolition itself, for as long as the battle continues in court, the Las Vegas Sun reports that the county can’t authorize the building’s destruction, thus likely extending this whole story by at least another year or two. For their part, Perini Building, who will not sign on to exploding the Harmon, believes that MGM wants the demolition as soon as possible to help cover up evidence of the design errors that had plagued the project from the start. The company also believes that the building can not only be repaired, but that it is currently safe, disputing research funded by MGM that found much to the contrary. Should MGM be able to wrangle their way around the legal system and get the county to agree to bringing down Foster’s hotel, the Sun reports that the company expects the demolition to take roughly six months, with five more months following to remove all the rubble and return it to the vacant lot it once was.

New Career Opportunities Daily: The best jobs in media.

Howl Film

Découverte de ce beau court-métrage d’animation réalisé par Sharon Michaeli sur une soundtrack de Yoav Brill, dans le cadre de leurs études à la Bezalel Academy of Art and Design. Un rendu réussi en noir et blanc, ainsi qu’une mise en scène d’un enfant et des rapports avec sa mère.



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