Studio Morison wraps statue of Maximilian I in Munich plaza with origami-like pavilion

Studio Morison has installed a multifaceted mesh-covered pavilion around a statue of Maximilian I in the centre of Munich, to raise awareness for the city’s homeless and impoverished. 

Named “I Will Be With You, Whatever”, the installation was designed by British artists Heather and Ivan Morison of Studio Morison and engineered by Artura Design and Engineering.

I Will Be With You, Whatever by Studio Morison

The sculpture, which is on show in the city’s Wittelsbacherplatz until October 13, has a refined origami-like form based on a simple rectangle, folded into a complex zig-zagging shape.

With four house-shaped entrances, the nine-metre-high hollow sculpture encircles the equestrian statue of Holy Roman Emperor Maximilian I, which sits in the centre of the square. Almost entirely obscured by the structure, only the head and raised hand of the rider protrude.

The bulk of the statue is either concealed or revealed depending on the light conditions, but illumination at night ensures that Maximilian I is visible inside the pavilion from a distance.

I Will Be With You, Whatever by Studio Morison

“With its four entrances the sculpture invites entry and exploration,” explained Ivan Morison. “It thereby follows the historical function of pavilions.”

“While they traditionally played an important role in the creation of squares, parks and gardens as places of gathering, they matter only very rarely in contemporary city design. I Will Be With You, Whatever transforms a public space where usually very few people come to meet, gather or rest.”

I Will Be With You, Whatever by Studio Morison

The installation was created as part of the 25th birthday celebration for Munich street magazine BISS.

Similar to the UK’s Big Issue, BISS is sold by citizens in social difficulties in order to provide them with a legitimate income. The sculpture is intended as a gift from BISS to the people of Munich to thank them for 25 years of support.

I Will Be With You, Whatever by Studio Morison

BISS have put together a programme of events that will invite visitors to the plaza to sing, listen, see, debate, play, move and celebrate together. The studio’s imposing sculpture is intended as a beacon for BISS while its central location encourages the public to take a position regarding poverty.

Caroline Fuchs, curator of the BISS birthday celebration, added that the partial concealing of Maximilian I was a metaphor for how different people can be invisible in the public sphere.

“This play with the visibility and invisibility of the statue is aimed at our attentiveness in public,” said Fuchs. “The participation of people, who are not living in the centre of our society, can depend on their visibility in the public sphere. People can be excluded by invisible boundaries, thresholds or obstacles.

“The partial veiling of Maximilian I in this sense not only calls attention to the statue itself but also to our own perception of every single person,” continued Fuchs.

I Will Be With You, Whatever by Studio Morison

“This work, and its title, signifies supporting poor, ill and homeless people and helping them to overcome severe life crises,” added Karin Lohr, BISS chief executive. “Poor people will always remind us through their presence that an equitable society must create the basis of existence for all people.”

The installation is made from CNC-cut engineered ply frames, clad in a silver knit super-mesh and held between a yellow steel skeleton.

I Will Be With You, Whatever by Studio Morison

Ivan Morison and Heather Peak Morison set up Studio Morison in 2003 to create work that blurs the boundaries between art, architecture and theatre.

Previously they have erected a pink pavilion shaped like an origami pineapple in the centre of the 18th-century walled garden of the Berrington Hall country estate, and a yellow PVC pavilion that provided visitors to a Dutch art festival with the chance to sleep in one of the darkest places in the Netherlands.

Photography is by Rainer Viertlböck.


Project credits:

Concept: Heather and Ivan Morison
Commissioners: BISS
Design and production: Studio Morison
Engineering: Artura
Fabrication/installation: Xaver Lutzenberger GmbH & Co
Light concept: Ingo Maurer GmbH
Lighting technical support: Osram

The post Studio Morison wraps statue of Maximilian I in Munich plaza with origami-like pavilion appeared first on Dezeen.

Demystifying QR Codes: What are they and how do they work

demystifying_qr_codes_layout

You’ve surely seen these codes around either in print or digital format. Chris Sacca may call QR Codes the ‘herpes of technology’, but they’re quite enabling; allowing you to link web pages, profiles, and even bodies of information to a specially formulated code that can be digitally scanned (in fact, you can scan the code in the image above too). Although considered ‘old tech’ by some (and a venereal disease by others), these little black-and-white boxes are apparently going through a revival. About 1.3 billion mobile QR code coupons are estimated to have been redeemed last year, and that number is expected to rise to 5.3 billion in the next 4 years. In fact, countries like India and China rely strongly on QR codes for visiting web pages, making payments, or even storing government-backed identities.

The QR in QR Code stands for Quick Response code. Developed and patented by Denso Wave, a subsidiary of Toyota Motor Corp in 1994, QR Codes were used to track vehicles as they moved along the assembly line, and to quickly scan components used in the vehicles. While Denso Wave still owns the patent over the technology, the company very kindly granted free license to it, allowing third parties to use the technology and help it be widely accepted.

The QR code is a natural evolution of the zebra barcode. While the barcode holds smaller bits of information, laid out on a strip of black lines of varying thicknesses, spaced apart differently, QR codes actually store much larger pieces of data (as much as 350 times the data you could store on a barcode), and are laid out on two dimensions, vertically and horizontally. Additionally, barcodes are scanned using a thin strip of infrared light and a sensor that reads the way the light bounces back to it, while QR codes are digitally scanned using a camera and software to decrypt the information.

The information in the QR code is contained within the black and white squares, called modules. It is this arrangement of modules that stores the data. The more modules, the more data. The design of a QR code can even be broken into different parts that serve different purposes. The large squares on three corners of the overall square are referred to as ‘position markers’, and the camera or QR scanner usually track these position blocks to determine the orientation and location of the code as well as its outermost edges. The position blocks are separated by white breathing spaces, so that the camera can easily distinguish between the position blocks and the and the rest of the code.

demystifying_qr_codes_2

The rest of the code comprises small pixelated blocks, and in order to read them, the scanner must determine two things. The size of the block, and as a result, also the spacing. The scanner does so using a row of alternating blocks known as timing marks, located along the base of the upper two position markers. These alternating blocks of black and white give the scanner information of how big each individual black pixel is, and the spacing between them. An alignment block on the bottom right corner reinforces the information provided by the position blocks and the timing blocks, while also ensuring the code can be deciphered even if it’s distorted, for example, if viewed at an angle. Other features of the QR code include a Format Row that tells the scanner what sort of information the QR code holds (whether it’s a URL, text, etc.) and a Version Control area that helps the scanner identify the version number of the code. The rest of the code stores all the information that the QR code’s supposed to hold.

Since QR codes are likely to get damaged (given that they were meant for a factory floor), they employ an error-correcting mechanism known as the Reed Solomon code. This system adds redundant/repetitive information to the data so that it can be recovered even if the graphic is slightly damaged. This Reed Solomon code also allows you to input logos and graphics into the graphic without compromising the information stored within the code to create a sort-of ‘vanity QR code’.

QR codes, whether you like them or not, open a lot of gateways for storing critical pieces of information in small spaces. The design of a QR code is scalable too, so the bigger the QR code, the more information it holds (version 40 of the QR code has a 177 by 177 pixel resolution). QR codes are finding increasing applications in payments, where you’d expect NFC technology to fail. In fact, WeChat in China, and PayTM in India use QR codes for merchants and customers, allowing you to simply identify transactors by scanning their codes either in print, or from a screen. Snapchat and Facebook’s Messenger are taking this technology further by designing QR codes that are proprietary in the way they look. Your Snapchat profile picture is, in fact, a scannable vanity QR code that contains your avatar in the center. FB Messenger uses a radial pattern, as opposed to Snapchat’s ghost-shaped QR code, for individual profiles. Today, QR codes are being used in innovative places, from tracking logistics and guerilla marketing to even allowing cashless donations to the homeless and encouraging voter registration, and the possibilities can only increase with AR and VR… So next time a Shark Tank investor tells you QR codes are dead, maybe don’t really listem to them!

This week, the completed V&A Dundee and Apple's latest iPhones were unveiled

This week on Dezeen, the first photographs of the completed V&A Dundee were released and Apple debuted three new versions of the iPhone X.

Scotland’s first architecture and design museum, V&A Dundee opens to the public for the first time today.

Speaking to Dezeen at a preview event, Japanese architect Kengo Kuma said technology used to create the building is also being employed on the Tokyo 2020 stadium.

Apple iPhone Xr
Apple debuts iPhone Xs and two more smartphone models

Apple released three new smartphones – all updates of its iPhone X – at an event at the Steve Jobs Theater on its Cupertino campus.

Also in technology news, Mercedes-Benz revealed its latest concept vehicle which is made up of modular components, meaning it can morph from a car into a van. The concept is named Vision Urbanetic.

The Ocean Cleanup launches System 001
The Ocean Cleanup dispatches “giant Pac-Man” to remove plastic from the Pacific

This week also saw the launch of the first large-scale operation to scoop waste plastic from the Pacific Ocean. A Dutch non-profit initiative, The Ocean Cleanup dispatched its “giant Pac-Man” off the coast of San Francisco.

Another project to come out of the Netherlands, Daan Roosegaarde has launched a campaign called Space Waste to solve the problem of debris floating around in outer space.

Aram Store director Ruth Aram dies aged 52
Aram Store director Ruth Aram dies aged 52

It was announced this week that Ruth Aram, who directed London’s Aram Store with her brother Daniel and father Zeev, has died after suffering a brain tumour. She had been undergoing treatment, but died on Friday 7 September.

Renzo Piano confirms he will design Genoa’s new bridge but says “it’s complicated”

Renzo Piano revealed that the the Italian government has accepted his offer to replace the collapsed Ponte Morandi bridge in his home town of Genoa.

Also in architecture news, the Phoenix residence that Frank Lloyd Wright designed for his son is back on the market, because funding to support its donation to the School of Architecture at Taliesin fell through.

WeGrow by BIG
BIG’s New York City school for WeWork encourages interaction and play

WeWork’s first school opened in New York City in time for the start of the new academic year. It was designed by architecture firm BIG, and includes curvaceous wooden reading dens amongst its many playful features.

Meanwhile in London, British architect David Chipperfield completed a new eastern entrance to Selfridges department store. It connects the historic building on Oxford Street to other buildings on Duke Street.

“Fur-free fashion week fills me with hope” says Stella McCartney

Fashion designer Stella McCartney praised London Fashion Week after it was revealed that this year’s event will be fur-free.

O'Donnell + Tuomey and Nikken Sekkei on RIBA shortlist for world's best building
O’Donnell + Tuomey and Nikken Sekkei on RIBA shortlist for world’s best building

The four architecture projects in the running for the RIBA International Prize were announced, including three education buildings.

The Design Museum in London also announced its nominees for Designs of the Year 2018, including the Nigerian World Cup football kit and Rihanna’s Fenty beauty range.

The Coal Office restaurant by Tom Dixon
Tom Dixon opens The Coal Office restaurant alongside his King’s Cross studio

Popular projects on Dezeen this week included Tom Dixon’s new London restaurant The Coal Office, Zaha Hadid’s Miami Beach apartment, and architect Chris Moore’s environmentally friendly home.

The post This week, the completed V&A Dundee and Apple’s latest iPhones were unveiled appeared first on Dezeen.

Demystifying QR Codes: What are they and how do they work

demystifying_qr_codes_layout

You’ve surely seen these codes around either in print or digital format. Chris Sacca may call QR Codes the ‘herpes of technology’, but they’re quite enabling; allowing you to link web pages, profiles, and even bodies of information to a specially formulated code that can be digitally scanned (in fact, you can scan the code in the image above too). Although considered ‘old tech’ by some (and a venereal disease by others), these little black-and-white boxes are apparently going through a revival. About 1.3 billion mobile QR code coupons are estimated to have been redeemed last year, and that number is expected to rise to 5.3 billion in the next 4 years. In fact, countries like India and China rely strongly on QR codes for visiting web pages, making payments, or even storing government-backed identities.

The QR in QR Code stands for Quick Response code. Developed and patented by Denso Wave, a subsidiary of Toyota Motor Corp in 1994, QR Codes were used to track vehicles as they moved along the assembly line, and to quickly scan components used in the vehicles. While Denso Wave still owns the patent over the technology, the company very kindly granted free license to it, allowing third parties to use the technology and help it be widely accepted.

The QR code is a natural evolution of the zebra barcode. While the barcode holds smaller bits of information, laid out on a strip of black lines of varying thicknesses, spaced apart differently, QR codes actually store much larger pieces of data (as much as 350 times the data you could store on a barcode), and are laid out on two dimensions, vertically and horizontally. Additionally, barcodes are scanned using a thin strip of infrared light and a sensor that reads the way the light bounces back to it, while QR codes are digitally scanned using a camera and software to decrypt the information.

The information in the QR code is contained within the black and white squares, called modules. It is this arrangement of modules that stores the data. The more modules, the more data. The design of a QR code can even be broken into different parts that serve different purposes. The large squares on three corners of the overall square are referred to as ‘position markers’, and the camera or QR scanner usually track these position blocks to determine the orientation and location of the code as well as its outermost edges. The position blocks are separated by white breathing spaces, so that the camera can easily distinguish between the position blocks and the and the rest of the code.

demystifying_qr_codes_2

The rest of the code comprises small pixelated blocks, and in order to read them, the scanner must determine two things. The size of the block, and as a result, also the spacing. The scanner does so using a row of alternating blocks known as timing marks, located along the base of the upper two position markers. These alternating blocks of black and white give the scanner information of how big each individual black pixel is, and the spacing between them. An alignment block on the bottom right corner reinforces the information provided by the position blocks and the timing blocks, while also ensuring the code can be deciphered even if it’s distorted, for example, if viewed at an angle. Other features of the QR code include a Format Row that tells the scanner what sort of information the QR code holds (whether it’s a URL, text, etc.) and a Version Control area that helps the scanner identify the version number of the code. The rest of the code stores all the information that the QR code’s supposed to hold.

Since QR codes are likely to get damaged (given that they were meant for a factory floor), they employ an error-correcting mechanism known as the Reed Solomon code. This system adds redundant/repetitive information to the data so that it can be recovered even if the graphic is slightly damaged. This Reed Solomon code also allows you to input logos and graphics into the graphic without compromising the information stored within the code to create a sort-of ‘vanity QR code’.

QR codes, whether you like them or not, open a lot of gateways for storing critical pieces of information in small spaces. The design of a QR code is scalable too, so the bigger the QR code, the more information it holds (version 40 of the QR code has a 177 by 177 pixel resolution). QR codes are finding increasing applications in payments, where you’d expect NFC technology to fail. In fact, WeChat in China, and PayTM in India use QR codes for merchants and customers, allowing you to simply identify transactors by scanning their codes either in print, or from a screen. Snapchat and Facebook’s Messenger are taking this technology further by designing QR codes that are proprietary in the way they look. Your Snapchat profile picture is, in fact, a scannable vanity QR code that contains your avatar in the center. FB Messenger uses a radial pattern, as opposed to Snapchat’s ghost-shaped QR code, for individual profiles. Today, QR codes are being used in innovative places, from tracking logistics and guerilla marketing to even allowing cashless donations to the homeless and encouraging voter registration, and the possibilities can only increase with AR and VR… So next time a Shark Tank investor tells you QR codes are dead, maybe don’t really listem to them!

Demystifying QR Codes: What are they and how do they work

demystifying_qr_codes_layout

You’ve surely seen these codes around either in print or digital format. Chris Sacca may call QR Codes the ‘herpes of technology’, but they’re quite enabling; allowing you to link web pages, profiles, and even bodies of information to a specially formulated code that can be digitally scanned (in fact, you can scan the code in the image above too). Although considered ‘old tech’ by some (and a venereal disease by others), these little black-and-white boxes are apparently going through a revival. About 1.3 billion mobile QR code coupons are estimated to have been redeemed last year, and that number is expected to rise to 5.3 billion in the next 4 years. In fact, countries like India and China rely strongly on QR codes for visiting web pages, making payments, or even storing government-backed identities.

The QR in QR Code stands for Quick Response code. Developed and patented by Denso Wave, a subsidiary of Toyota Motor Corp in 1994, QR Codes were used to track vehicles as they moved along the assembly line, and to quickly scan components used in the vehicles. While Denso Wave still owns the patent over the technology, the company very kindly granted free license to it, allowing third parties to use the technology and help it be widely accepted.

The QR code is a natural evolution of the zebra barcode. While the barcode holds smaller bits of information, laid out on a strip of black lines of varying thicknesses, spaced apart differently, QR codes actually store much larger pieces of data (as much as 350 times the data you could store on a barcode), and are laid out on two dimensions, vertically and horizontally. Additionally, barcodes are scanned using a thin strip of infrared light and a sensor that reads the way the light bounces back to it, while QR codes are digitally scanned using a camera and software to decrypt the information.

The information in the QR code is contained within the black and white squares, called modules. It is this arrangement of modules that stores the data. The more modules, the more data. The design of a QR code can even be broken into different parts that serve different purposes. The large squares on three corners of the overall square are referred to as ‘position markers’, and the camera or QR scanner usually track these position blocks to determine the orientation and location of the code as well as its outermost edges. The position blocks are separated by white breathing spaces, so that the camera can easily distinguish between the position blocks and the and the rest of the code.

demystifying_qr_codes_2

The rest of the code comprises small pixelated blocks, and in order to read them, the scanner must determine two things. The size of the block, and as a result, also the spacing. The scanner does so using a row of alternating blocks known as timing marks, located along the base of the upper two position markers. These alternating blocks of black and white give the scanner information of how big each individual black pixel is, and the spacing between them. An alignment block on the bottom right corner reinforces the information provided by the position blocks and the timing blocks, while also ensuring the code can be deciphered even if it’s distorted, for example, if viewed at an angle. Other features of the QR code include a Format Row that tells the scanner what sort of information the QR code holds (whether it’s a URL, text, etc.) and a Version Control area that helps the scanner identify the version number of the code. The rest of the code stores all the information that the QR code’s supposed to hold.

Since QR codes are likely to get damaged (given that they were meant for a factory floor), they employ an error-correcting mechanism known as the Reed Solomon code. This system adds redundant/repetitive information to the data so that it can be recovered even if the graphic is slightly damaged. This Reed Solomon code also allows you to input logos and graphics into the graphic without compromising the information stored within the code to create a sort-of ‘vanity QR code’.

QR codes, whether you like them or not, open a lot of gateways for storing critical pieces of information in small spaces. The design of a QR code is scalable too, so the bigger the QR code, the more information it holds (version 40 of the QR code has a 177 by 177 pixel resolution). QR codes are finding increasing applications in payments, where you’d expect NFC technology to fail. In fact, WeChat in China, and PayTM in India use QR codes for merchants and customers, allowing you to simply identify transactors by scanning their codes either in print, or from a screen. Snapchat and Facebook’s Messenger are taking this technology further by designing QR codes that are proprietary in the way they look. Your Snapchat profile picture is, in fact, a scannable vanity QR code that contains your avatar in the center. FB Messenger uses a radial pattern, as opposed to Snapchat’s ghost-shaped QR code, for individual profiles. Today, QR codes are being used in innovative places, from tracking logistics and guerilla marketing to even allowing cashless donations to the homeless and encouraging voter registration, and the possibilities can only increase with AR and VR… So next time a Shark Tank investor tells you QR codes are dead, maybe don’t really listem to them!

Demystifying QR Codes: What are they and how do they work

demystifying_qr_codes_layout

You’ve surely seen these codes around either in print or digital format. Chris Sacca may call QR Codes the ‘herpes of technology’, but they’re quite enabling; allowing you to link web pages, profiles, and even bodies of information to a specially formulated code that can be digitally scanned (in fact, you can scan the code in the image above too). Although considered ‘old tech’ by some (and a venereal disease by others), these little black-and-white boxes are apparently going through a revival. About 1.3 billion mobile QR code coupons are estimated to have been redeemed last year, and that number is expected to rise to 5.3 billion in the next 4 years. In fact, countries like India and China rely strongly on QR codes for visiting web pages, making payments, or even storing government-backed identities.

The QR in QR Code stands for Quick Response code. Developed and patented by Denso Wave, a subsidiary of Toyota Motor Corp in 1994, QR Codes were used to track vehicles as they moved along the assembly line, and to quickly scan components used in the vehicles. While Denso Wave still owns the patent over the technology, the company very kindly granted free license to it, allowing third parties to use the technology and help it be widely accepted.

The QR code is a natural evolution of the zebra barcode. While the barcode holds smaller bits of information, laid out on a strip of black lines of varying thicknesses, spaced apart differently, QR codes actually store much larger pieces of data (as much as 350 times the data you could store on a barcode), and are laid out on two dimensions, vertically and horizontally. Additionally, barcodes are scanned using a thin strip of infrared light and a sensor that reads the way the light bounces back to it, while QR codes are digitally scanned using a camera and software to decrypt the information.

The information in the QR code is contained within the black and white squares, called modules. It is this arrangement of modules that stores the data. The more modules, the more data. The design of a QR code can even be broken into different parts that serve different purposes. The large squares on three corners of the overall square are referred to as ‘position markers’, and the camera or QR scanner usually track these position blocks to determine the orientation and location of the code as well as its outermost edges. The position blocks are separated by white breathing spaces, so that the camera can easily distinguish between the position blocks and the and the rest of the code.

demystifying_qr_codes_2

The rest of the code comprises small pixelated blocks, and in order to read them, the scanner must determine two things. The size of the block, and as a result, also the spacing. The scanner does so using a row of alternating blocks known as timing marks, located along the base of the upper two position markers. These alternating blocks of black and white give the scanner information of how big each individual black pixel is, and the spacing between them. An alignment block on the bottom right corner reinforces the information provided by the position blocks and the timing blocks, while also ensuring the code can be deciphered even if it’s distorted, for example, if viewed at an angle. Other features of the QR code include a Format Row that tells the scanner what sort of information the QR code holds (whether it’s a URL, text, etc.) and a Version Control area that helps the scanner identify the version number of the code. The rest of the code stores all the information that the QR code’s supposed to hold.

Since QR codes are likely to get damaged (given that they were meant for a factory floor), they employ an error-correcting mechanism known as the Reed Solomon code. This system adds redundant/repetitive information to the data so that it can be recovered even if the graphic is slightly damaged. This Reed Solomon code also allows you to input logos and graphics into the graphic without compromising the information stored within the code to create a sort-of ‘vanity QR code’.

QR codes, whether you like them or not, open a lot of gateways for storing critical pieces of information in small spaces. The design of a QR code is scalable too, so the bigger the QR code, the more information it holds (version 40 of the QR code has a 177 by 177 pixel resolution). QR codes are finding increasing applications in payments, where you’d expect NFC technology to fail. In fact, WeChat in China, and PayTM in India use QR codes for merchants and customers, allowing you to simply identify transactors by scanning their codes either in print, or from a screen. Snapchat and Facebook’s Messenger are taking this technology further by designing QR codes that are proprietary in the way they look. Your Snapchat profile picture is, in fact, a scannable vanity QR code that contains your avatar in the center. FB Messenger uses a radial pattern, as opposed to Snapchat’s ghost-shaped QR code, for individual profiles. Today, QR codes are being used in innovative places, from tracking logistics and guerilla marketing to even allowing cashless donations to the homeless and encouraging voter registration, and the possibilities can only increase with AR and VR… So next time a Shark Tank investor tells you QR codes are dead, maybe don’t really listem to them!

A chassis like no other…

pocket_rocket_1

Its unique, unusual form language earned it a German Design Award prize, and quite a well-deserved prize it was. The Pocket Rocket does the two most important things a bike must do. Get you from A to B efficiently, and grab eyes along the way… and it does so while running on ecologically viable electric energy.

Housing every bit of electronics and machinery into its innovative inverted triangle shape, the Pocket Rocket doesn’t have the serious demeanor of a sports bike, but why should it, right? It hits that sweet spot between bicycles and motorbikes known as the e-bike aesthetic, and the minimal frame could just be iconic (I’m only a slight bit concerned about the base of the V being a little low, but on city roads, the Pocket Rocket should do fine). I’ve also grown to love the name Pocket Rocket, although it obviously has some suggestive connotations.

Designed by Manuel Messmer and engineered by SOL Motors, the Pocket Rocket is clean, compact, and well thought through. The thick tubular column on the top becomes a perfect surface to sit on, once you’ve got a saddle in place, and right at both ends, you’ve got the headlight and taillight. The product is currently in its conceptual stages and the specifications haven’t been made public yet, but we’ll let you know the minute we do!

Designers: Manuel Messmer & Sol Motors.

pocket_rocket_2

pocket_rocket_3

pocket_rocket_4

Seeking Out Pretty Pastels in a City’s Architecture

Pastel Wanderings est une collection de détails urbains intéressants capturés par la graphiste croate Ana Valjak. Tournées entre 2016 et 2018 lors de ses promenades dans la ville, ses compositions géométriques aux couleurs pastel reflètent ses points de vue, ses perspectives et son esthétique. Mais en plus de montrer sa sensibilité artistique, la série révèle également sa personnalité. « Les couleurs pastel que j’aime bien, sûrement pas par hasard, sont là pour montrer mon côté doux et délicat se plonger dans des objets audacieux, forts et massifs, impliquant ma force intérieure qui se trouve sous la surface molle. » Suivez-la sur Instagram et Behance.







Uber "brings back the U" in major rebrand

Uber has scrapped its controversial and confusing “asshole” symbol for a simple wordmark, as part of its new visual identity designed with branding firm Wolff Olins.

The collaborative redesign by Uber and Wolff Olins aims to rectify errors made with the ride-sharing service’s rebrand in 2016 – heavily criticised for a circular motif logo that was likened to an “asshole”. Uber said it also left many “people wondering where the U went” from the old greyscale icon.

Uber rebrand by Wolff Olins

To remedy the confusion, the teams gathered research from Uber’s audience, coming up with three key findings: let in the light, embrace black; invest in a wordmark, not a symbol; bring back the U.

The new logo therefore comprises the company name, written in white and set against a black background.

The U also forms the framework for the new composition of its marketing material. For example, adverts will feature images wrapped by a white U, or as a backdrop that looks like the letter.

Black and white continues prominently throughout the rebranding, set at a high contrast.

Uber rebrand by Wolff Olins

A “safety blue” colour is introduced sparingly during user interactions, like ordering the car, to mark moments of support and assurance.

The logo and composition is among a number of new elements that feature in Uber and Wolff Olins’s branding project. These include a custom typeface, called Uber Move, designed by Los Angeles type foundry and studio MCKL.

The typography is based on those found in transport hubs, like New York’s subway and London’s underground, and used throughout the rest of the branding material to provide continuity.

A new set of bold black iconography draws on shapes also found in global transportation, combined with the Uber Move type to create “a seamless system from text to icon”.

Uber's new logo
Uber’s last rebrand was called out as “confusing” and likened to an “asshole”

In illustrations for branding material, images are stripped back to “basic geometric shapes” and filled with block colours to make them easy to understand.

All new features will be rolled out internationally to make the brand recognisable worldwide. Marketing material will be customised through photography specific to different regions.

Uber was founded by Travis Kalanick and Garrett Camp in 2009 as a black car service for 100 friends in San Francisco. Its first logo was a red magnet designed by Camp, which was followed by a greyscale identity featuring a “U” in 2011.

The next rebrand, completed in- house by CEO and co-founder Travis Kalanick and Uber design director Shalin Amin, sparked a major blacklash. The company’s head of design Andrew Crow announced he was leaving the company the day after it was revealed.

Crowdsourcing site DesignCrowd also launched a competition for designers to create better alternatives.

Wolff Olins, founded in 1965, has offices in London, New York and San Francisco. Earlier this year, the agency completed a visual identity for OMA-designed art gallery in Paris.

The studio was also responsible for a shape-shifting logo for Brazilian telecoms company OiThe Metropolitan Museum of Art’s new logo unveiled in 2016, and the 2012 London Olympics logo.

The post Uber “brings back the U” in major rebrand appeared first on Dezeen.

The watch that combines time-telling and mystery

dodecagon_watch_1

Taking inspiration from the twelve-sided polygon, the Dodecagon Watch uses the geometric shape and a commonly found density/opacity trick to create a watch that’s literally different and mysterious at the same time.

The crystal sitting atop the watch comes with a black tint which grows darker as the glass gets thicker. The dodecagon, being thickest at its center, therefore obstructs your view of the center of the dial. What you DO see, however, is the trail of light from glowing watch-hands at the end which points to the time. With a vibe that feels mysterious, ghostly even, the watch tells you time through these glowing hands that seem to appear from the darkness… and as a result, creating a visual that’s absolutely stunning to look at! Oh my lord, will you look at that minimal, beautiful packaging?!

Designer: Jaekyu Jung for Weekend-Works.com

dodecagon_watch_2

dodecagon_watch_3