Les compositions photographiques de Claudia Rogge sont toujours aussi impressionnantes. Présenté sur Fubiz il y a près de 4 ans, elle revient avec une série de visuels où les corps se mêlent dans un tourbillon dramatique pour des compositions rappelant les tableaux des grands maîtres. Plus d’images dans la suite.
Paris-based service design company User Studio recently shared a concept for the seemingly impossibly task of designing a beautiful and useful phone bill, the Refact.
After analyzing 18 months worth of phone bill data, the designers worked to cull information that users would actually want to know including total phone usage, number of calls, most called numbers and longest calls. What sets Refact apart from other data visualization options is the online service concept that allows users to easily input the data from their standard-issue phone bill, interact with the resulting information and track usage trends over time. As Matthieu Savary, co-founder of User Studio explains:
There are a lot of situations where we, the users of digital services, find ourselves in front of endless lists of numbers, arrays of meaningless data… especially when it’s time to pay for something! At User Studio, as typical users of a lot of these modern services, we find these situations highly frustrating, especially when we know that the service providers probably use this data—that we, as users, helped produce—to better sell their products.
So we set off to try and find a way to dig up the data that lies in the bills of one of those services that we use all the time: our mobile phone subscriptions. We knew no public API existed… but we had hope that data could be extracted from the PDF bills that the providers are now making available on web platforms (to avoid sending invoices via snail mail).
Phone bills are often considered by mobile operators as something they legally have to provide their customers with. Bills are rarely thought of as a potential part of a much larger and much more compelling user experience (ie. they’re rarely designed with the same care as the provider’s web site, store, customized phone os, in-house apps, etc.)
Refact (EN) from User Studio on Vimeo.
Brainy nonprofit TED is following through on its promise to turn its passion for “ideas worth spreading” into slim volumes that it hopes readers will consider worth downloading—for $2.99 a pop or less, thanks to a new subscription model (three months, six books, $14.99). The technology, entertainment, and design mavens have launched an app that provides easy and instant access to TED Books, short (10,000 to 20,000 words) nonfiction works that are meant to explore one big idea in a way that can be absorbed in a single sitting. “TED Books are to books as TED Talks are to lectures,” according to TED’s Chris Anderson. The free app, designed for both iPhone and iPad, beefs up the images in TED Books while adding features such as video, audio, links to maps, online resources, search, commenting, sharing, and automatically updated editions. With 16 titles published—including Living Architecture by Rachel Armstrong—and an ambitious schedule that promises a new one every two weeks, now is the time for TED to do something about those still-cringeworthy virtual book covers.
Got an app we should know about? Drop us a line at unbeige [at] mediabistro.com
New Career Opportunities Daily: The best jobs in media.
Mother and director Michael Pearce have created a short film, Gallop, for multiple sclerosis charity Shift.ms, which sensitively explores the impact of a diagnosis of MS through the story of a burgeoning love affair…
The film avoids the facts and figures that often take centre stage in charity films, and instead focuses on the emotional impact of the diagnosis on the central character. It is being hosted on the Shift.ms website at shift.ms/gallop, where there is also more info on the charity.
Credits:
Agency: Mother
Director: Michael Pearce
Production company: Homecorp
Post: The Mothing Picture Company
CR for the iPad
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CR in Print
The August Olympic Special issue of Creative Review contains a series of features that explore the past and present of the Games to mark the opening of London 2012: Adrian Shaughnessy reappraises Wolff Olins’ 2012 logo, Patrick Burgoyne talks to LOCOG’s Greg Nugent about how Wolff Olins’ original brand identity has been transformed into one consistent look for 2012, Eliza Williams investigates the role of sponsorship by global brands of the Games, Mark Sinclair asks Ian McLaren what it was like working with Otl Aicher as amember of his 1972 Munich Olympics design studio, Swiss designer Markus Osterwalder shows off some of his prize Olympic items from his vast archive, and more.
Plus, Rick Poyner’s assessment of this year’s Recontres d’Arles photography festival and Michael Evamy on the genius of Yusaku Kamekura’s emblem for the 1964 Tokyo Olympics.
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UX Designer
Stanford University
Stanford, California
Stanford University’s Office of Information Resources and Technology (IRT) provides information technology, informatics and knowledge management services in support of the School of Medicine’s clinical, research and educational missions.
The UX Designer of the IRT Web and New Media Services Group is a senior level design position. This position establishes and implements a vision and strategy for the user experience and overall design that will be used in the development of all new web products supported by the group. This position creates leading-edge, graphical user interfaces for static and dynamic websites, and web products. This position will play a leadership role in implementing high quality, attractive, and innovative graphical interfaces for multiple platforms.
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The best design jobs and portfolios hang out at Coroflot.
This is so simple its brilliant! Im surpassed no one else has thought of this. Modeled after Walter White’s special blue recipe in Breaking Bad, this is easily the most illegal looking rock candy we’ve ever seen. The cotton candy flavored rocks come in small baggies instead of adhered to a swizzle stick and will satisfy your fix for some sugar when you’re jonesing. Unfortunately, we doubt this stuff was cooked up in a beat up RV.
Bags and clothing hang from steel chains at the Prague store for sports brand Puma by Czech architects EDIT! and architecture student Tereza Komarkova (+ slideshow).
Komarkova’s design concept for the Puma Social Club references the cloakrooms of coal miners in the Czech city of Ostrava, who would air their overalls by attaching them to suspended chains rigged up to the ceiling.
Located in the centre of the city, the store occupies the ground floor of a building that replaced the house where influential author Franz Kafka was born.
The chains and pulleys also integrate lighting and hang over both a shop floor and a cafe.
Pre-weathered steel was used to create the cafe counter, as well as the perforated walls that hold the product display shelves.
Designers Nendo have also designed a store for Puma, which you can see here.
Photography is by Saša Dobrovodský.
Here’s some more information from the architects:
PUMA social club Prague
The Puma company came to us with a specific brief – to make a multifunctional meeting point combining a shop with their social club concept and a cafe.
The store is oriented especially towards young people who may discover Puma street wear products in a more amusing way and Puma also wished to make students of architecture to participate on the interior design. Our role was therefore to organize a workshop with pre-selected students, to choose the most intriguing concept and, together with the winning student, to develop the concept to a realization.
Tereza Komarkova, a student of architecture at the Technical University in Liberec, joined the edit! team for 6 months as she was chosen after the workshop for her original concept inspired by miners’ cloakrooms in coal mines of the Ostrava industrial region. Miners used suspended steel chains to hang up their clothes and pull them up to make them ventilated.
In Puma store the chains serve to present the products and to modify the inner space or even to free it up for various occasions or events.
Their height can be controlled both manually or remotely and they can be also tied together to create a sort of chain trees with products.
The building where the Puma social club store is located is the birthplace of Franz Kafka, in the very heart of the historical centre of Prague.
The approach was first to clean up the space from additional non-historic interventions and then unite all public areas by a massive wooden floor.
Besides the chains the major interior feature is a long bar cladded in rusted steel plates that also serves as a retail counter. The rusted steel is used also at specially designed walls of perforated plates where shoes and apparel are presented.
Project architect: Ivan Boroš (edit!)
Author of the winning concept: Tereza Komárková (student of Faculty of Architecture, Technical University in Liberec)
Co-authors: Ivan Boroš (edit!), Juraj Calaj (edit!), Lenka Míková (edit!), Vítězslav Danda (edit!), Tereza Komárková
Photographs of realization: Saša Dobrovodský (www.dobrovodsky.cz)
Client: Puma Czech Republic
Project managment: Martin Šourek, Didaktik-CZ (www.didaktik-cz.cz)
Estimated costs: 93 000 Euro
The post Puma Social Club by EDIT!
and Tereza Komárková appeared first on Dezeen.
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