Hasta La Ideas

Designing the shopping experience is a large challenge that we’re excited to watch the progress of, since nobody knows what it will really turn out to be. Recently Apple and Adidas have both proposed and are now beginning to advance new shopping experience designs that make very different bets on how consumers want to shop.

Apple’s Reserve and Pick Up program—whereby you order online, then pick up the object in-store—isn’t a new concept, with other retailers having gotten behind this much earlier; but I seize on it because Apple has a good track record for accurately providing experiences many people want to have. Their particular approach, particularly if BGR’s assertion is accurate that you skip lines when you show up and pay with an iOS device, is predicated on minimizing time spent in the store. It presupposes the consumer researches precisely what they want to purchase online, doing all of their shopping calculations from their own computer. The store simply serves as a fulfillment point for that particular transaction.

Adidas is taking a different tack with their adiVerse Virtual Footwear Wall, a trial unit of which has recently been installed in an Adidas shop in London. The system consists of a large multitouch display that requires customers physically come into the store and play around with the thing. It’s predicated on the decision-making process taking place in-store, and in that way maximizes in-store time. Seeing the video of it below, I think it’s neat but am not 100% sold; in particular, having to start the transaction on one screen and then switch to a tablet seems a little clunky to me.

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Une très belle réalisation de Gregory Hervelin et une production du studio Vasava pour ce “Title Sequence” réalisé dans le cadre du festival OFFF incluant des speakers tels que The Mill, Joshua Davis ou Julien Vallée. Le tout se déroulant à Cincinnati, dans le Contemporary Arts Center.

Previously on Fubiz

• The Adventures of Tintin
• History Of The Title Sequence
• Sequence Photographs

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The apparent suicide of a beloved Disney character is a tough act to follow, but Maurizio Cattelan has made a career out of one-upping himself with works that are by turns unsettling, delightful, awe-inspiring, and downright hilarious. Having set an unconscious Pinocchio afloat in the Solomon R. Guggenheim Museum’s fountain back in 2008, Cattelan returns to the scene of the crime for his first retrospective, and he’s brought the unconscious boy puppet—and examples of virtually everything else he’s created since 1989.

On view through January 22, “Maurizio Cattelan: All” embodies the artist’s distinct brand of bravado-cum-brinksmanship by suspending 128 works, from his famous sculptures of Pope John Paul II felled by a meteorite and a contrite Adolf Hitler to art-historical puns (parade-float Picasso, felted-wool paens to Joseph Beuys) and enough taxidermied creatures for a formaldehyde-soaked version of Noah’s Ark, in a dangling mass that occupies the museum’s rotunda. Visitors take in the site-specific installation as they ascend the Frank Lloyd Wright-designed ramps, and the museum has created a fold-out schematic diagram as well as its first app as navigation aids. “This exhibition is a kind of a visual joke, of the naughty artist who has strung up his work without a care,” says Nancy Spector, deputy director and chief curator of the Solomon R. Guggenheim Foundation, who organized the exhibition. “But at the same time, it’s a gallows. It’s a kind of mass hanging, an ending.” And with the opening of the retrospective, Cattelan announced what may be his most daring project yet: his retirement from the art world.

Photo: David Heald © Solomon R. Guggenheim Foundation

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A plant-filled stack of timber beams forms the reception desk of an environmental association’s headquarters in San Francisco.

Texan studio Logan Johnson Architecture designed the lobby for American company The Sierra Club.

Native Californian plants grow in hollowed-out grooves in the reclaimed fir desk, while ribbons of light glow through the cracks between each beam.

Behind the desk, pixelated images of the nearby Sierra Nevada Mountains decorate the walls.

Some other unusual reception desks on Dezeen include one made from stacked planes of marble and another that is bright red and integrates a bench.

Photography is by Matthew Johnson.

The following text came from Logan Johnson Architecture:

SierraSpace is a new reception space for the Sierra Club headquarters in San Francisco. The project references two primary images in the Sierra Club’s history: the Sierra Nevada Mountains, namesake of the Club, and the idea of a felled log becoming a new kind of ecosystem that helps to create vibrant ecologies. We designed the lobby desk using reclaimed Douglas Fir timbers into which we inserted native Northern California plants, meant to evoke the way ferns and mosses take over logs after they have fallen.  We embedded LED ribbons in the logs to illuminate the reveals and cracks.  The mural behind the lobby desk is a pixellated image of the Yosemite Valley, one of Sierra Club founder John Muir’s favorite places.

For the original design, we had abstracted a topographic map of the mountains into a heightfield that becomes a canopy in which to place lights, mechanical and other services—to be constructed out of reclaimed Douglas Fir.  The wall behind the reclaimed Douglas Fir lobby desk is a pixellated face of John Muir, lit from behind using LED lighting.

Status: Completion October 2011
Client: Sierra Club
Location: San Francisco, CA
Site: Reception Lobby for Sierra Club Headquarters in Downtown San Francisco.
Design Team: Matthew Johnson, Jason Logan, Josh Robbins
Contractor: RN Field

See also:

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Edison House by Adjaye Associates	Nothing office by Joost van Bleiswijk	AOL Offices by Studio O+A