Hasta La Ideas

Reader James submitted the following to Ask Unclutterer:

I’ve read productivity books and articles that claim checking email first thing at work is a bad idea. I have been burned by not checking it because my boss and clients sent me important messages overnight and I didn’t get them until two hours later. What is your take on checking email? Is my overall productivity worth the times I’ve been burned?

I can see the reasoning behind not checking your email right when you get to work — you run the risk of getting caught up in work that might not be extremely important to your job responsibilities at a time when you’re likely at your most focused and productive. It would be better if you could use your best brain power on your most demanding and core work.

That being said, I check my email first thing when I get into work. I don’t really address it, though, I simply scan all the “from” and “subject” lines to search for work-altering messages. If I don’t see any indicators that someone sent me an email that will change my most demanding and core work, I immediately close my mail program and wait until I need a break from my demanding work around 10:00 a.m.

If I click on a message, read it, and discover it didn’t affect my immediate work day, I mark the message as “unread” so it can hang out until I process email in a couple hours.

If I click on a message, read it, and discover it does affect my immediate work, I’ll process the email the same way I do when I’m really handling email. This means I’ll file it as Archived, add related next actions to my to-do list, and/or schedule any related information on my calendar. If I need to reply to the email, I do it at this time. After giving proper attention to the email, I’ll scan the rest of the inbox to see if there is anything else I must check. If I’m done with my quick search, I’ll quit the program and wait to address the other issues at 10:00 a.m.

I chose my times for checking email based on when I do my mindful and mindless work over the course of the day — scan at 8:00 a.m., full check at 10:00 a.m., full check after lunch around 1:00 p.m., a scan around 3:00 p.m., and then a final end-of-workday check at 5:00 p.m. I do not have my new message indicator light on my email program activated, and I actually completely close out of the program when not in use. If your job allows you to behave in this manner, I strongly recommend it. It significantly helps my productivity to not be tempted to check email constantly.

Thank you, James, for submitting your question for our Ask Unclutterer column. Please check the comments for even more suggestions from our readers.

Do you have a question relating to organizing, cleaning, home and office projects, productivity, or any problems you think the Unclutterer team could help you solve? To submit your questions to Ask Unclutterer, go to our contact page and type your question in the content field. Please list the subject of your e-mail as “Ask Unclutterer.” If you feel comfortable sharing images of the spaces that trouble you, let us know about them. The more information we have about your specific issue, the better.

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Quest’anno per presentare la propria collezione, 55DSL collaborerà con alcuni dei talenti più promettenti e creativi del mondo i quali potranno mostrare liberamente la loro visione creativa dell’heritage del brand 55DSL: la giovinezza, la libertà, il divertimento e l’Italia.
Si inizia quindi con il giovane regista statunitense David Altobelli che per l’occasione ha deciso di girare un cortometraggio ambientato interamente a Roma.

Lo abbiamo incontrato per porgli qualche domanda, l’intervista è all’interno del post.

1. Qual’è stata la sfida maggiore nel girare questo documentario per 55DSL?

E’ sempre una sfida girare in nuovi ambienti. Non ero mai stato a Roma, pur avendo origini italiane. L’obiettivo portato avanti da 55DSL era quello di voler mostrare un lato diverso di questa città rispetto alla percezione che le persone hanno di solito. Alla fine, abbiamo vissuto un’esperienza unica e credo che si possa chiaramente percepire anche dal lavoro che abbiamo fatto.

2. Quale è stata la parte più interessante dell’intera creazione del progetto?

E ‘divertente vedere tutte le variabili diverse che si incontrano. Il casting, la location, la storia, e, naturalmente, il team con cui collabori direttamente durante la produzione. Penso che sia stata veramente una fortuna l’aver trovato come location la piscina presente alla fine del video.

3. Roma è stata il posto giusto per far esprimere ai personaggi i valori di 55DSL di gioventù, libertà e divertimento?

La reputazione di Roma come “Città Eterna” si è sposata bene con l’intento della nostra narrativa. Volevo creare qualcosa che parlasse più di sentimenti che semplicemente una storia entro dei margini. Come se i personaggi e la loro storia fossero eterni anche loro.

4. Come è stato lavorare con un brand che dà così tanta rilevanza a fare in modo che la cultura urbana trovi dei mezzi di espressione in un progetto che va oltre i tradizionali limiti della moda?

Questo è stato una grande premessa fin dall’inizio. I brand che supportano i registi in maniera nuova e diversa rispetto al passato raggiungeranno un pubblico completamente nuovo. Spero che molti altri brand seguano questo esempio in futuro.

These chandeliers by London designers Troika use large fresnel lenses to shape the light from LEDs suspended below them into overlapping geometric patterns on the ceiling of the Royal Society of Arts‘ headquarters in London.

The two chandeliers form part of a refurbishment project by Matthew Lloyd Architects, due for completion this summer.

Corian rings frame the lenses, suspended above the polished brass cradles that each contain eight high-power LEDs.

Troika’s studio is on Laburnum Street in Hackney and Matthew Lloyd Architects are on Kingsland Road. Check out our showcase of design from the borough here.

Other projects by Troika on Dezeen include installations at the UK pavilion designed by Thomas Heatherwick for the Shanghai Expo in 2010 and a computer application that makes your desktop icons roll around as if affected by gravity.

Here’s some more information from Troika:

After winning the competition organised in December 2011, Troika was invited by the Royal Society of Arts to create two lighting features for their London HQ to act as key components of the architectural refurbishment scheme designed by Matthew Lloyd Architects and set to be unveiled in June 2012.

Troika’s proposal builds on their fascination for optical phenomena, taking inspiration in the work of early Enlightenment scientists to create chandeliers which decorative elements are derived from manipulating the very substance of the light itself. The principles at work in both chandeliers, namely the diffraction and controlled scattering of the light, is reminiscent of the early experiments of Sir Isaac Newton and the later Augustin Fresnel, while signifying a quest for deeper understanding which found a natural resonance with the values and legacy of the Royal Society of Arts, founded in 1754.

The chandeliers use large fresnel lenses to shape the light generated by high power LEDs into colourful geometrical patterns projected onto the ceiling, thus contributing compelling decorative elements to the surrounding spaces while providing the necessary illumination levels.

The Grand Staircase chandelier is comprised of a large 1.2m diameter fresnel lens, rimmed by a white Corian ring, and suspended in front of a polished brass cradle housing 8 high power LEDs. As the white light generated by the LEDs passes through the lens, a pattern of 8 colourful rings is created, adorning the ceiling with a unique crystalline rose.

While reflecting the RSA’s commitment to 21st century enlightenment, the two chandeliers inscribe themselves in continuation to Troika’s work with light and optics, following Troika’s installation ‘Falling Light’ for Swarovski Crystal Palace first shown at Design Miami in December 2010, and ‘Light Rain’, 2010, for the UK Pavilion at the Shanghai World Expo.

Troika, Chandelier, RSA House, Grand Staircase
Brass-plated aluminium, Corian, glass, fresnel lens, custom electronics
1.4 m (DIA) x 2.9 m (H)

Afin de montrer que les choses que nous jetons peuvent en dire beaucoup sur nous, ces photographies d’ordures et de leur environnement permettent d’exposer les choses avouées et désavouées de chacun. Une véritable autopsie pensée par l’artiste Zinkie Aw.

Previously on Fubiz

• Recycling Clothing Art
• The Papervore
• Coke Man of Johannesburg

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The Hammer Museum (of art), which is not to be confused with the Hammer Museum (of hammers), is introducing an $100,000 award as part of its “Made in L.A. 2012” biennial, opening June 2 across three venues: the Hammer, LAXART, and the Department of Cultural Affairs’ Los Angeles Municipal Art Gallery at Barnsdall Park. Funded by art-loving philanthropists Jarl and Pamela Mohn, the Mohn Prize will be awarded to one of the 60 artists from the exhibition and will be accompanied by the publication of a book on the winner’s work. The twist? A jury including MoMA’s Doryun Chong and Rita Gonzalez of LACMA will select the five finalists, but after that, it’s up to the people. The winner will be chosen by visitors to the exhibition through online voting. Would-be voters can register during their visit (photo ID will be required, so there’s no monkey business) before declaring their top pick using a highly secure digital platform.

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