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EDITION29 STRUCTURES ISSUE 004 featuring the Norwegian Reindeer Pavilion, a Wind Tower in Valencia and a cultural center in Turkey.

Senior Art Director US
Digitas
Chicago, Illinois

Digitas—one of the world’s leading digital marketing and media companies—is seeking a Senior Art Director, who will be responsible for the conception, design and execution of innovative visual materials for integrated, cross channel initiatives including: large web initiatives, online advertising and digital marketing. Individuals should possess strong conceptual and design skills and assist the Creative Director in improving the conceptual, technical and creative performance of staff within his or her group.

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The best design jobs and portfolios hang out at Coroflot.

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In the March 2009 issue of CR, Michael Johnson wrote of a strange phenomenon: the diehard fans of an obsolete piece of software who refuse to bow to the inevitable and switch to more modern alternatives. His story, which has just topped 200 comments, has become a kind of self-help group for FreeHand adherents. A place to reminisce, to mourn the seemingly imminent loss of an old friend. But, thanks to legal action in the US, FreeHand may have a future

I Would Save Freehand print by TDR for ifyoucould.co.uk

Johnson’s original piece was prompted by the discovery that, like him, many designers were clinging on to their ancient copies of FreeHand, despite the fact that the software was no longer supported and was becoming increasingly more difficult to use thanks to its incompatibility with newer applications and operating systems.

Originally launched by Aldus in 1988, FreeHand became a favourite among many designers and illustrators thanks to its ease of use and functionality. Adobe acquired Aldus in 1994 but, citing concerns that Adobe might monopolise the vector graphic software business, the US Federal Trade Commission required Adobe to get rid of FreeHand and not to acquire it again for 10 years. Once the 10-year period ended, Adobe acquired Macromedia (FreeHand’s then owner) and, although it continues to sell FreeHand MX, a version dating from that period, promptly discontinued support for the software.

However, that didn’t stop a dwindling ban of FreeHand diehards – including Spin, who used FreeHand on its Logo book (above), Jonathan Barnbrook and DixonBaxi – who continued to use the package, relying on workarounds and multiple re-starts to keep it running on modern machines. And, as the response to Johnson’s piece made clear, they are far from alone.

“I thought I was completely alone. I’m so happy. (Sniff!)” typed Frank, holding back the tears as he discovered the post.

“I have eighteen years of archived projects in Freehand, and as a brand identity designer, I’m going grey(er) at the prospect of not being able to continue using my beloved Freehand” said James Goodchap.

“Resist, resist, resist” cried Rich.

These are just a few of the 200 comments from all over the world that the post has attracted. The initial rush may have fallen away but still a steady stream comes to confess that yes “My name is x and I use FreeHand”.

But all is not lost. A US group calling themselves FreeFreeHand is fighting for the future of the software. It aims to pressure Adobe into either updating the programme itself or releasing the code and licensing to the OpenSource community, so that it may be developed by others.

Last year, along with four independent designers, FreeFreeHand launched a class action antitrust lawsuit against Adobe in California. ”Adobe has engaged in unlawful, willful acquisition and maintenance of monopoly power in the market for professional vector graphic illustration software,” the complaint alleged.  “Since acquiring FreeHand, Adobe has significantly raised the price of Illustrator while, at the same time, effectively removing FreeHand from the market by failing to update the program.”

Adobe, for its part, denies any wrongdoing and has been contesting the allegations in the suit. “Even an alleged monopolist is entitled to raise its prices and make its own product decisions,” its lawyers argued in a motion to dismiss the action. Adobe has further argued that “all companies have the right to unilaterally discontinue product lines” and that it cannot be forced to develop and support multiple product lines within its own portfolio.

At the end of March, Adobe and the plaintiffs went through a legal process known as mediation which is an attempt to resolve the issue without going to court. Hopefully, compromise can be reached. If not, the case is due to come to court on April 1, 2013.

So FreeHand lovers, don’t give up hope just yet.

Read Michael Johnson’s original story here.

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here

CR in Print
The May issue of Creative Review is the biggest in our 32-year history, with over 200 pages of great content. This speial double issue contains all the selected work for this year’s Annual, our juried showcase of the finest work of the past 12 months. In addition, the May issue contains features on the enduring appeal of John Berger’s Ways of Seeing, a fantastic interview with the irrepressible George Lois, Rick Poynor on the V&A’s British Design show, a preview of the controversial new Stedelijk Museum identity and a report from Flatstock, the US gig poster festival. Plus, in Monograph this month, TwoPoints.net show our subcribers around the pick of Barcelona’s creative scene.

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.

The China Central Television Headquarters in Beijing by architects OMA are now complete.

Top: photograph is by Iwan Baan
Above: photograph is by Philippe Ruault

The CCTV building comprises two towers that lean towards one another and are bridged at both the the top and bottom to form a distorted loop.

Above: photograph is by Iwan Baan

The building contains TV studios, offices and facilities for production and broadcasting, which will be put into use later this year.

The project was led by former OMA partner Ole Scheeren, who has since left the firm and set up his own practice. See his proposals for a skyscraper for Kuala Lumpur here.

OMA have unveiled a few new projects in the last month, including a performance institute in New York and an arts venue in Moscow. Rem Koolhaas gave Dezeen a quick introduction to that project, which you can watch here.

Here’s some more information from OMA:

CCTV Headquarters in Beijing, designed by OMA, completed

Today OMA participated in the official construction completion ceremony for the China Central Television (CCTV) Headquarters in Beijing, which will start to be used later this year. Designed by OMA as a reinvention of the skyscraper as a loop, construction on the building began in 2004. At approximately 473, 000m2, CCTV – accommodating TV studios, offices, broadcasting and production facilities – is OMA’s largest ever project and its first major building in China.

CCTV defies the skyscraper’s typical quest for ultimate height. Rising from a common platform, two towers lean towards each other and eventually merge in a perpendicular, 75-metre cantilever. The design combines the entire process of TV-making – formerly scattered in various locations across the city – into a loop of interconnected activities.

The structure of the CCTV Headquarters, and the forces at work within it, is visible on its façade: a web of diagonals that becomes dense in areas of greater stress, looser and more open in areas requiring less support. The façade itself becomes a visual manifestation of the building’s structure.

Rem Koolhaas commented: “I am very happy, after years of intense collaboration, that the CCTV building will soon begin to perform its role in the way it is intended.”

The CCTV project was led by OMA / Rem Koolhaas, former OMA partner Ole Scheeren (until 2010), OMA partner David Gianotten and project manager Dongmei Yao in close collaboration with partners Shohei Shigematsu, Ellen van Loon and Victor van der Chijs. The design team consisted of project architects Anu Leinonen, Charles Berman and Adrianne Fisher together with a team of over 100 architects from OMA.

The structural and MEP design was provided by Cecil Balmond and Arup, while ECADI (East China Architectural Design & Research Institute) functioned as the Local Design Institute. Design Consultants included Front INC, Inside/Outside, DHV, DMJMH+N, Lerch Bates & Associates, LPA, Sandy Brown Associates and Romano Gatland NY.