Dans l’esprit du superbe Dear Photograph et dans le cadre de la commémoration des 10 ans du drame du World Trade Center le 11 septembre 2001, voici ce projet réalisé spécifiquement par le photographe Jason Powell, mêlant les anciennes et actuelles photographies des lieux de NYC.
Copyright Fubiz™ – Suivez nous sur Twitter et Facebook
New creative company Party has created this totally beautiful new interactive music video-cum-game for Japanese band Androp. We advise that you play it now.
Party, profiled in the current issue of CR, was formed earlier this summer by five of Japan’s top creative talents. This new website follows another recent promo for Androp by the company, for track Bright Siren (shown here), which uses 250 camera strobes to create a light animation. They have chosen an entirely different look for the new site, however, which features an elegant, illustrative style and invites users to join in a game where they must attempt to deliver a message intact. The game is set to Androp’s new track, Bell.
The site opens by inviting users to type a message of their choice. The letters of the message are then used to form an animal, with the size of the animal dictated by the size of the message. Above is the smallest message, which becomes a rabbit, and the largest, an elephant. There are a number of other animals to discover too.
Players then have to guide their animal through a landscape fraught with peril: across deserts and over seas, travelling by day and at night. Throughout, enemies are waiting to attack. Each time another creature hits your message-bearer, your missive will change, one letter at a time.
Whatever is left of your message at the end can then be shared with friends, along with a replay of your game and also the actual message you wanted to send.
The film below shows the game in action. To play yourself, visit androp.jp/bell.
<object width=”560″ height=”345″><param name=”movie” value=”http://www.youtube.com/v/jkqMwQfxhk8?version=3&hl=en_GB”></param><param name=”allowFullScreen” value=”true”></param><param name=”allowscriptaccess” value=”always”></param><embed src=”http://www.youtube.com/v/jkqMwQfxhk8?version=3&hl=en_GB” type=”application/x-shockwave-flash” width=”560″ height=”345″ allowscriptaccess=”always” allowfullscreen=”true”></embed></object>
Thanks for reading the CR website, but if you are not also getting the printed magazine, we think you’re missing out. This month’s issue has a superb feature on the Sainsbury’s Own Label packaging of the 60s and 70s, a profile of new Japanese creative supergroup Party and our pick of this year’s top graduates. Read all about it here.
If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
‘Nocturne by Moonlight’ is a full Moon shaped cushion which glows in the dark like the real moonlight. As it gets dark, the Nocturne by Moonlight cus..
The complexity of the healthcare system is hard to wrap your head around. Even (maybe especially) after a long day of conversing on and listening to ideas on the topic. The Mayo Transform2011 Symposium seeks to both open up and tear down this complexity, with its varied roster of passionate people working in a tough arena where the past, present and future in healthcare converge.
And hospitals are (or should be) a thing of the past in healthcare. At least, hospitals as we think of them: giant institutional campuses where we go when we are sick. (That this came up repeatedly today at the Mayo Clinic, one of the most renowned of these institutions, is indicative of the terrific work being done there.)
As many of the speakers noted today, the key to future healthcare is in designing for the patient, from a holistic perspective, rather than merely at the touchpoint of the hospital. The most insightful and exciting ideas expressed at Transform were with those finding the opportunities to break away from the institution of the traditional hospital.
The concept was exemplified in the breakout session, “Unlocking the Power of Sharing Data,” in which the speakers emphasized the necessity and eventuality of every individual’s health records being in a shared system for managing their health. This concept immediately seems scary—health data is private, and very personal. To share it, or have it sitting on some server somewhere, feels exposed.
Designer Arik Levy presents a pebble-shaped device for opening water bottles at Maison&Objet in Paris this week.
Called Water=Life, the object fits over the top of a water bottle, gripping the cap’s ridges with its teeth to create a larger handle with more leverage.
The natural pebble shape means it sits discretely on the table when not in use.
Levy created the device for inclusive products company Omabia.
He seems to have a thing about water at the moment – check out his Well of Life lamp here and see all our stories about his work here.
Here’s some text for Arik Levy:
Water=Life is a techno-poetic project where design meets everyday needs. For his cooperation with Omabia, an organization whose objectives are to improve our everyday life, Arik Levy has come up with a simple, poetic and functional concept to facilitate and improve access to water and other drinks. We all experience situations such as hearing a child say : ‘Papa can you open the bottle for me’, or witnessing an aged person having the same problem. It is sad to see that a very simple task such as opening a bottle of water or soft drinks can be difficult and unsolved. Sometimes I also have to make a big effort myself.
I wanted to create an enigmatic object that does not give itself away too fast and of which one can appreciate the appearance as well as the functionality. A river-stone was the inspiration. Water comes from the rocks and in this case it’s a river-stone that gives us access to water. By simply placing the river-stone on the screw-cup lead of the bottle, the cone with its multiple radial pressure lines serves as a hooking device. Applying a very minor pressure and turning the river-stone form allows you to benefit from a greater leverage and extra force so as to snap the lead security band open with no effort.
Once the river-stone is put back on the table, it goes back to being an object of nature and becomes part of a metaphor.
.
 |  |  |
| Brotzeit by PostlerFerguson | Ruhrsteine by Formfjord | Waterpebbles by Priestmangoode |
All images courtesy of Design for America
My cell phone rang insistently one late Monday afternoon in August 2009 as I was in my kitchen preparing dinner with my colleague, Katy Mess. On the phone, two undergraduate students eagerly explained that they were too excited about their new idea to wait for our next meeting; they needed to share it now. Thirty minutes later, I was holding the watermelon they had balanced on their handlebars during their bike ride from campus. They joined us at the table, and we offered feedback while they animatedly outlined initial observations and ideas for ridding hospital ICU’s of infectious bacteria.
Why don’t more students feel that they can track down a design mentor or professor at home because they need to share their exciting ideas? Our society needs innovative and passionate teams of people to solve its complex problems. Innovation makes our economy tick and improves our quality of life. We will not be able to downsize or cost cut our way out of the world’s current problems. How does design education tap into the passion that students and professionals have around making a difference in the world?
Mountains of articles, programs and books are produced every day about fostering innovation. Most of them directing, telling, pushing, instructing. But you don’t need to tell the average student that innovation is important and exciting. Some already have a deep yearning to work for social good. You can trace their attempts to influence the world if you follow their desire lines.
We’ve all seen desire lines, weaving dusty paths across any university campus. People make these lines everywhere, not just across the physical landscape. Their desires and movement toward their interests can be traced across social media interactions and late night conversations. Students have the time and passion to tackle social problems, but rarely the right experience or mentorship to develop ideas grounded in design research or pursue projects through implementation. Socially-minded professional designers have more experience and resources, but little time. What if design education put design methodologies into the hands of everyone who wanted to make a difference, not just designers? What if we put engineers next to biology majors and music majors and business majors and had them focus on social problems together? What if design education itself was redesigned to harness this intersection of energy in the gap between what professionals and faculty have and what students want?
It’s refreshing to coach smart, energetic students. Some designers find designing shampoo bottles to be less than inspiring. DFA lets you focus on making the world a bit better. -Shannon Ford, Motif, DFA Design Coach
In the fall of 2008, Liz Gerber of Northwestern University had a wild idea. Inspired by organizations like Teach for America and challenged by Julio Ottino, the progressive Dean of the McCormick School of Engineering, to pitch a new program for Segal Design Institute, she grabbed a book off the shelf and designed a new cover with the words “Design for America” (DFA) mocked-up across the front. She drew upon what she’d noticed about her own design students, that they were often more attracted to conservative behavior than risks and potential failure in classes in order to preserve their grades. Other students were comfortable with risk, but disappointed in the limited opportunities available for getting hands-on experience through choosing their own design projects.
(Photo: Lyndon Douglas)
Design an awesome home for Adam Lindemann and the world will beat a path to your double-height, multipaneled bronze door, as will Design Miami, which will honor Tanzanian-born, London-based architect David Adjaye as Designer of the Year at this year’s fair (November 29-December 4 in Miami Beach). Awarded annually to an internationally renowned designer or studio “whose body of work demonstrates unmatched quality, innovation, and influence, while expanding the boundaries of design,” the honor has been bestowed in previous years on the likes of Zaha Hadid, Fernando and Humberto Campana, Maarten Baas, and Konstantin Grcic.
“Winning Designer of the Year is huge for me,” said Adjaye. “To win an award like this from the design community is really significant because so much of my work is about crossing platforms. Being recognized this year—which culminates in all of the work and research I’ve been doing in Africa—is extremely meaningful.” Of Ghanaian descent, Adjaye has spent ten years traveling to 53 cities throughout Africa to document the continent within an urban context. The resulting project, “Urban Africa: David Adjaye’s Photographic Survey,” includes more than 36,000 pictures, 3,000 of which were displayed at London’s Design Museum before traveling to other locations around the world.
Among the perks of winning Designer of the Year is the opportunity to whip up a site-specific installation for this year’s fair, and Adjaye has designed a triangular pavilion called “Genesis” (rendering at right) that will welcome visitors to Design Miami. The immersive environment will be constructed of hundreds of vertical wooden planks, with the interior formed by an oversized ovoid shape cut out from the center. Inside, Adjaye will provide seating (on a platform formed by cut-away timber frames) that affords views of the sky and surrounding environment. The Design Miami galleries will be visible through a curved window. According to Design Miami, “Genesis” represents the first time that Adjaye has combined structure, seating, window, and doors into a single gesture.
New Career Opportunities Daily: The best jobs in media.
In this week’s episode of “5 Things You Need to Know This Week,” we talk about fantasy football, Fashion Week, Tim “Stretch” Armstrong, and Glenn Beck‘s new children’s show.
For more videos, check out Mediabistro.tv, and be sure to follow us on Twitter: @mediabistroTV
New Career Opportunities Daily: The best jobs in media.
Dezeen Wire: the practical trend of adapting and reusing existing buildings is the focus of an article by Giovanna Dunmall in The Economist.
Dunmall points to an office building by Allford Hall Monaghan Morris (AHMM) and the redevelopment of The Royal Shakespeare Company headquarters by Bennetts Associates Architects, both of which were nominated for this year’s Stirling Prize. Read the full story here.
Dezeen Wire: Justin McGuirk of The Guardian is the latest critic to write about the kitsch revival of postmodernism, which he says remains popular with consumers – The Guardian
A retrospective about the postmodern movement opens at the Victoria & Albert museum on 24 September. See recent articles on postmodernism by Alice Rawsthorn for The New York Times and Rowan Moore in The Observer.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
