Pop-Up Book Celebrating the Design of Immersive Sega Arcade Game Cabinets from the 1980s

In the videogame arcades of the ’80s, the rank-and-file games were pushed up against the wall. But in the middle of the room were the special ones–larger, immersive cabinets that you climbed into, paying 50 cents rather than 25 for the privilege. For an extra quarter you got to sit in a cockpit, in a driver’s seat or on a superbike.

In the early 1980s, Yu Suzuki, a young videogame developer working at SEGA developed a series of groundbreaking arcade games – physically impressive, custom-built cabinets that utilised motion control, hydraulics and frenetic pseudo-3D visuals. These games provided players with immersive, heart-pounding simulations of motorcycle racing, air-to-air combat, and high speed driving.

“Nicknamed ‘taikan’ or ‘body sensation’ games, these cabinets remain high water marks for the once-vibrant arcade game scene,” reckons UK-based art director and videogame historian Darren Wall. “[They were] seductive, gaudy fusions of industrial design and 1980s graphic art.”

Now wall’s publishing company, Read-Only Memory, has put together a book detailing the development history, game artwork and context of six notable Sega cabinets: Hang-On, Space Harrier, OutRun, After Burner, Thunder Blade and Power Drift.

Incredibly, the book contains detailed pop-up models of all six cabinets.

The book, SEGA Arcade: Pop-Up History was Kickstarted in 2018 and is now available here.

The Minimalist Perspective of Color

Alexey Kozhenkov, possède un style minimaliste qui lui est propre et qu’il révèle une fois de plus dans sa dernière série de photographies intitulée « Orange ».

La plupart des photos de la série ont été prises dans le bâtiment de l’école polytechnique de design (Scuola Politecnica di Design SPD) à Milan, en Italie, en 2019.

La façon dont il utilise les couleurs et les lumières naturelles fait ressortir l’architecture et le caractère unique du bâtiment. Les formes deviennent apparentes et les bords plus définis dans la façon dont Kozhenkov encadre et édite son travail. La collection vaut le coup d’œil et vous pouvez le suivre sur Instagram pour en savoir plus.







Brushed Alpaca Droplet Coverlet

Constructed from 100% brushed, hand-loomed alpaca, CH favorite Jonathan Adler’s aptly titled Droplet Coverlet features a piano key-like pattern of elongated drops and lollipop shapes. Thrown over the top of a bed or a couch, the cover acts as its own hybrid: a combination of a throw and a woven comforter. Each made-to-order item is woven by hand in Peru and measures out to 98 by 96 inches.

Hot Tip: You Can Access Free Tutorials on Coding, AutoCAD, Graphic Design and More Through LinkedIn Learning with a Public Library Card

On my daily Twitter morning scroll, I came across an interesting tweet by designer Amelie Lamont in response to a valid design education question for 2020: as more students come to class already knowing the basics of Adobe programs, what are good online resources for in-depth tutorials so teachers can direct students to learn those basics on their own and focus their class time on teaching more advanced lessons?

Lamont’s response to question led me to an exciting discovery: anyone with a New York Public Library card can gain free access to Lynda.com, known in the present day as LinkedIn Learning.

The typical cost for LinkedIn Learning can range from $19.99-$29.99 a month, and their vast library ranges from HTML training, AutoCAD, Photoshop fundamentals, project management foundations, algorithms and more. It’s a great resource for students and professionals alike to broaden their skillset, all for free.

Examples of tutorials at LinkedIn Learning

Access to this database is granted with both New York and Brooklyn Public Library cards, but there are plenty of other libraries around the US that offer free access. Curious if your public library has a partnership with Lynda? Simply Google the name of your public library and “Lynda”.

In order to get the deal, simply visit the login page for Lynda’s website > Sign in with your organization portal > put your library’s URL in, like “nypl.org” > then enter your library card information. And boom! You’re in.

This is information that has been available for several years, so for those in the know, yes this is old news. But for those like myself with public library cards completely oblivious to this treasure trove, please enjoy!

Pensa Tackles Aluminum Luggage Redesign for Zero Halliburton

Erle P. Halliburton wasn’t an industrial designer, but he was both an industrialist and a designer. In the 1930s he traveled to various oil fields in America, implementing the new method of oil well cementing he’d invented; the frequent travel led him to design his own suitcase, which was made from a then-newfangled material called aluminum.

The suitcases caught on, and in 1938 Halliburton launched his own company to produce them. Movie star Marlene Dietrich was a fan, and either Halliburton formed a relationship with Hollywood or filmmakers found the cases cinemagenic; Halliburton luggage appeared in some 300 films and TV shows.

As you can see in the photo of Dietrich above, the cases were smooth-sided. That looks cool as heck, but given aluminum’s properties, those cases probably got pretty banged up. In 1946 a design change was made, adding ribs for better durability.

Over the decades rolling suitcases were added to the lineup, but they didn’t look terribly different from earlier iterations. However, in 2017 Zero Halliburton (the company’s name from 1952 onwards) decided it was time for a re-design. They contracted Brooklyn-based design firm Pensa, who spent over two years doing the required research and design. Today, the fruits of their labor are officially being unveiled.

“As industrial designers, we saw a real opportunity to bring a fresh point of view to Zero Halliburton,” says Mark Prommel, Partner and Design Director at PENSA. “We approached the process as engineers, travelers and observers of human nature, and from that experience, we were able to reimagine everything – from the wheels to the locks and even the packing system – and ultimately designed each individual element to create truly special and extremely functional cases.”

One of the things Pensa looked at was the beatings that luggage can take, and they reinforced the edges in a novel way: Rather than adding protruding protective cladding, as with a roadie case, they instead sculpted concave channels into the edges, reinforcing the corners with form-following Y-shaped caps “to mitigate the potential for severe damage more effectively than typical convex-based travel cases.”

An extra handle is hidden in an unexpected place–in the bottom, by the wheels. This makes it easier to use both hands to hoist the case up to an overhead bin, or out of a car trunk, when it’s fully laden.

The ID tag is also concealed, though it can quickly be peeled back to glance at. In this age of privacy concerns, this makes much more sense to me than the standard approach, where people often have their name and address in full view.

It’s impossible to tell this from photos, but the pull handles are “crafted from a high-strength polymer composite with a soft-touch feel reminiscent of a luxury sport watch strap,” the company says.

Zero Halliburton’s Pursuit Aluminum Collection offers two carry-on sizes as well as two larger sizes for check-in.

They’ve also got a snazzy attaché case.

Check them out here.

Project M Plus infuses Salted Pig eatery in California with desert hues

The Salted Pig by Project M Plus

Earthy colours such as muted turquoise, sage green and brick red feature in this gastropub in California that was designed by Project M Plus to “stimulate the appetite and the senses”.

The Salted Pig by Project M Plus

The Salted Pig is part of an urban residential complex in Riverside, a city just outside of Los Angeles in the Inland Empire region. This is a new home for the restaurant, which first opened in 2011. It formerly was located in a small building several blocks away, which Project M Plus described as having a “rustic public house” atmosphere.

The owner brought in the multidisciplinary LA studio to create a different look and feel for the new location. The firm’s founders, McShane and Cleo Murnane, “knew that a refreshed, playful design for the restaurant was needed to elevate the brand and charm their loyal customers”.

The Salted Pig by Project M Plus

Encompassing 3,400 square feet (316 square metres), the eatery sits at the base of a multi-storey apartment building. The building’s exterior is accented with desert hues, such as tan and sage green – a colour palette that informed the restaurant’s interior design.

“We really wanted to bring the natural beauty of the surrounding environment inside, where we could cultivate a sense of place and cosiness,” said Cleo Murnane in a statement, adding that “warm tones stimulate the appetite and the senses”.

Visitors step into an airy space that comprises a dining room and bar area. Numerous windows usher in daylight while also enabling passers-by to catch a glimpse of the interior.

The team incorporated industrial elements, such as concrete flooring and exposed ductwork. Arched openings help “soften” thresholds and add visual interest.

The Salted Pig by Project M Plus

The ceiling is painted a brick red, offering a pleasant contrast to walls that are rendered in white or muted turquoise. In select areas, walls and columns are covered with grey-green tiles.

The dining furniture includes wooden tables, bucket chairs and leather banquettes. U-shaped booths are lined with honey-toned wooden louvres that lend a sense of warmth and intimacy.

The Salted Pig by Project M Plus

Suspended above the booths are domed metallic pendants. Other types of lighting in the space include glossy peach table lamps and a chandelier made of glass orbs.

The gastropub’s long bar is lined with wooden slats and is topped with terrazzo. Guests can enjoy cocktails while relaxing in chunky green stools with copper legs. Throughout the restaurant, ferns and cacti bring a little of the outdoors inside.

The Salted Pig by Project M Plus

Overall, the restaurant is meant to have a “cohesive, unexpected material palette that is transporting and altogether satisfying”, the team said.

Founded in 2007, Project M Plus has a diverse portfolio of branding, interior design and architectural projects. Other work by the studio includes a daycare in Los Angeles that features arched passageways, colourful walls and whimsical artwork.

Photography is by Project M Plus.


Project credits:

Designer: Project M Plus
Client: Ronaldo Fierro

The post Project M Plus infuses Salted Pig eatery in California with desert hues appeared first on Dezeen.

Inspiring Photographs of the Ocean Seen From Above

Tobias Hagg est un photographe/vidéaste suédois. Il réalise différentes séries photographiques de ses aventures et explorations avec une approche unique.
En prenant de la hauteur sur un environnement, il offre une nouvelle perspective du monde qui nous entoure. D’un esthétisme remarquable, la transmission de l’émotion est assurée dans ses clichés.

Sa série “The Ocean” s’intéresse à l’une de nos plus grandes richesses. Les nuances de bleu variant du profond au turquoise s’échouent dans le blanc de l’écume pour un rendu puissant.
Ces prises de vue offrent un point de vue aérien sur cette force de la nature et en montrent la diversité à travers des teintes différentes.

De nombreuses autres séries inspirantes sont à découvrir ici.














Sketching/Rendering Challenge: Can You Make This Bugatti Look Ugly, Using These Specific Design Cues?

I just read a classic “design fail” story whose three stages you’ll find familiar:

1. Concept is unveiled, everyone loves it

2. Upper management committee gets involved, requests conflicting design changes

3. Revised design is a visual disaster, project gets canceled

We’ve all heard this story a million times, but this one is frustrating because only parts 1 and 2 have been visible to the public. No one knows what part 3 looked like.

The object in question is the Bugatti Galibier, a four-door concept car unveiled in 2009. Here’s what it looked like:

While it’s not my cup of tea, it’s on-brand for Bugatti, and their small but wealthy customer base responded positively to the concept. So did the press. Thus the Galibier was green-lit for further development.

And that’s when it all went to shit. According to the story told by Hagerty:

“Bugatti’s higher-ups instructed [Design Director Achim] Anscheidt and his team to make several far-reaching visual modifications to the car after interpreting the feedback gathered at customer clinics held around the world. That’s when Bugatti’s grandiose plans for a super-sedan began to derail.”

Apparently, the resultant design was so ugly that when an unnamed higher-up visited the studio in 2012, he canceled the car on the spot.

What’s frustrating is that the ugly 2.0 design has never been publicly seen, and I’m dying to see what it looked like. All we have to go on are descriptions from Hagerty and Anscheidt, the designer giving the impossible task.

Request: Can those of you with rendering skills alter the images above, based on the six descriptions below? Some are vague, some are specific:

From Hagerty:

1. “It grew almost six inches in height”

2. It “picked up an astonishing 60 inches in length”

3. “It…ended up with a small, notchback-like trunk due to [Chinese market input]”

4. “The Galibier’s curvaceous silhouette and…visual ties to the Type 57 Atlantic vanished”

From Anscheidt:

5. “Viewed from the side, the car looked like a dachshund”

6. “From the back, it was like looking at a bowler hat on wheels”

Re: Point #4, here’s what the Type 57 Atlantic, whose qualities vanished from the Galibier, looked like:

If anyone could pump out some sketches of this “Bu-not-ti,” we’d be grateful.

Interview: Ravi Naidoo, Founder of Design Indaba

As the 25th edition approaches, its key creative figure shares his thoughts on design as a tool

When you share a room with Ravi Naidoo you cannot help but notice his presence. The Design Indaba founder emanates and attracts positive energy; it’s an off-shoot of the power of believing in what you produce. Both a thinker and a doer, Naidoo is also the founder and managing director of Interactive Africa. He’s worked on business and social projects that range from the 2010 FIFA World Cup to Design Commons. But 25 years ago, he gave South Africa something that was missing: an event that set Cape Town on the map of upper-echelon design conferences around the globe. Design Indaba has become a platform that gathers people around ideas and kickstarts new projects to everyone’s benefit.

A couple of weeks before the 25th edition (which will take place from 26 to 28 February), we spoke with Naidoo about the past, present and future—as well as expectations for his forthcoming edition. “The first thing is it’s actually a momentous time,” he shares with us. “And it’s quite emotional [since] it’s really been way more than we ever expected. It’s been such a joy and a privilege to be part of it because it has been our university, it has taught us so much. Right now for me the fundamental thing is gratitude. It’s very rare to have an initiative like this taking place in Africa, in such a long haul destination and to be around for 25 years, we have just immense gratitude.”

Naidoo remains very aware of the risk of celebrating in advance, and a desire to look at what’s next is his guiding principle. “We will honor the past, but for a short amount of time. We’ll spend most of our time asking deeper questions about our next steps,” he says. “What we’re doing is doubling our projects and our impact, expanding on the component of design endeavor, which is really an obsession we have. We will be more prolific than we ever have and we’re taking some of the projects into the public square.”

Any successful and long-lasting project mixes founding spirit and constant innovation. Naidoo says it all began when “we just tried to see how we could gather the creative community together and inspire them and 200 people came to the first event. The only thing that still happens—but nothing like how it was then—is the conference. But radiating from the conference have been so many other things.” Naidoo and his team initially thought the conference was the end unto itself. It grew beyond a podium. They questioned how you put design to work for the more profound important things in society.

The first edition of Design Indaba was held in 1995, right after the end of apartheid, the introduction of universal adult suffrage and the election of Nelson Mandela as President. Naidoo remembers those years very well. “We were completely smitten by this concept of new democracy and were taken up for this whole idea of nation building. And somehow we thought of design as a tool that we can actually use in this journey,” he says.

“We had never been to a design conference and we had no frame of reference,” he continues. “If I look back at it now, I think it was the biggest advantage we had because we didn’t do a derivative thing; it’s something that we thought of and made anew. Design for social impact has been a huge part of the motif ever since we started. We started by saying ‘a better future by design,’ but it’s evolved into something even wider. We now say ‘a better world through creativity.’ Design is this wonderful kind of vehicle with which we can express ourselves and then make these things possible.”

Today, Design Indaba is one of the reference points for the global design community because of its ability to go beyond the ordinary. Expectations are defied; eyes opened. According to Naidoo, that’s because of their broad scope. “The nice part about the freedom of doing it here in South Africa and the way we did it,” he says, “was that we went across every area of creative enterprise and creative expression, so we could put an artist next to a chef, an architect next to a fashion designer, next to a graphic designer, next to a coder, next to a social scientist and really mash it all up.”

Naidoo also integrates activism and social impact. “We are not impresarios, we are not promoters, we are not event organizers,” he explains. “We come at it with a very wholesome activist idea. We’re not just talking about it, we’re doing it.” Design Indaba aims to convert ideas into outcomes, into reality. “You will see an action as opposed to a report on a past,” Naidoo continues. “So I think that the present and that future component of it is what makes people completely taken aback.”

The role of design and creativity has increased in making the world a better place. “You know, the world’s a messy place right now. Design Indaba has got dollops of optimism and goodwill. We say that creativity is a muscle and you come here to exercise it,” Naidoo concludes. In fact, people from all over the world go to Design Indaba for exactly that reason.

The 25th edition of Design Indaba is on 26-28 February in Cape Town, and tickets are available online. For the full program and regular updates go to the official Design Indaba site or follow them on Instagram, Facebook and Twitter.

Hero image courtesy of Design Indaba, all other images by Paolo Ferrarini

Dreaming of your next pint? This THINK! Campaign might change your mind

There’s 60 illustrations in total – to represent the 60 young drivers killed or seriously injured while driving over the limit each month in the UK. They’ll be pasted up in pubs, bars and clubs, and appear across social media, to try and encourage drinkers to intervene and stop drink driving.

According to government research, intervening on others’ drinking is something we struggle with. THINK! reports that a third of people don’t think it’s important to get involved, and only 64% would actually step in and do something. The figure drops to 45% for young men – the demographic this campaign is aimed at.

Top and above image by Chester Holme
Illustration by Chester Holme
Illustration by Gaurub Thakali
Illustration by Ceara Coleman

This campaign could easily have veered into guilt trip territory, but the illustrations are surprisingly tongue in cheek – and all the more engaging for it.

The artists behind them have come up with a bizarre range of possible solutions to the problem, and have to be admired for their creativity. None of us like to be lectured to, but there’s a hope that by taking a more roundabout, creative route, THINK!’s message will cut through.





Credits:
Agency: VMLY&R
Chief Creative Officer: Laurent Simon
Creative Director: Gavin McGrath
Creatives: Sophie Taylor, George Robb, Perle Arteta, Christopher Joyce, Matt Luke, Yama Noorzad
Senior Designer: Dominic Frain
Animator: Irrum Khan
Illustrators: Alasdair Spencer, Ben Armson, Joe Gamble, Joey Yu, Inga Ziemele, Chester Holme, Tegan Price, Molly Fairhurst, Gaurab Thakali, Ceara Coleman
Production company: Dirty Films

The post Dreaming of your next pint? This THINK! Campaign might change your mind appeared first on Creative Review.