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| http://www.tentsile.com/gallery.html |
Visualizzazione post con etichetta design. Mostra tutti i post
Visualizzazione post con etichetta design. Mostra tutti i post
Un ambiente per generare emozioni, per vedere le cose a una scala diversa dal reale, per cogliere nuovi significati, per provare emozioni o semplicemente vedere rappresentato ciò che ci piace.
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| Treehouse workspace. Suzanne Augello |
Nel mese di novembre Good, (una piattaforma che promuove e diffonde notizie di persone, progetti e business che contribuiscono a far progredire il mondo in mondo sostenibile e creativo) ha lanciato una sfida che riguarda il ripensare lo spazio di lavoro per stimolare produttività e creatività. Qui il link per vedere tutte le proposte selezionate.
Ho lavorato per un po' di anni in una azienda italiana e non ho mai sentito lamentele da parte dei colleghi rispetto alla qualità dell'ambiente di lavoro. Il malcontento derivava non tanto dalle caratteristiche dello spazio dal punto di vista del comfort luminoso, acustico, dell'organizzazione degli spazi e degli arredi o della qualità di questi, ma bensì dal prestigio. Il tema si risolveva in Open space vs Ufficio singolo, una mera questione di gerarchia, di privacy, di status. Lo spazio più ambito era quindi l'ufficio singolo, e non importava se era uno sgabuzzino vicino al bagno. Mi fa quindi molto piacere vedere queste proposte e che più che di progetti, si tratti di concept in cui si ricercano le condizioni per il benessere psicofisico, aspetto penso fondamentale per sprigionare la creatività ed essere produttivi.
Ma torniamo al tema della creatività, i bambini e in generale tutte le persone prive di condizionamenti e pregiudizi sono una fonte imprevedibile di creatività.
Quello che vi faccio vedere oggi è uno stravolgimento di senso creativo ad opera di un bambino. Finita la colazione ho tirato fuori dalla borsa e ho messo sul tavolo delle foto d'infanzia recuperate nel weekend a casa dei miei. Mentre facevo questo gettavo un occhio alle attività ripetute e quasi infinite di togli e metti, metti e togli la molletta dalla tovaglia, e a un certo punto l'occhio prima distratto si è fermato su questo nuovo portafoto. 
Today I took a vacation so at the beginning of the day I went in a Boulangerie in Milan where Gillo Dorfles, the critic of over hundred years old, usually buys bread, and by the way, if the saying is true that we are what we eat I should better follow also other his healthy habits...But going back to the theme of creativity, I can say that children, and in general all the people with no preconceptions and prejudices are a source of unpredictable creativity.
What I show you today is a creative upheaval of meaning by a child.
After breakfast I pulled out of the bag some old photographs of my childhood found at my parents house and I put them on the table. While doing this I threw an eye to the repetitive tasks of removing and putting, putting and removing the clip from the tablecloth, and in a few minute the distracted eye stopped on a new photoframes.
The project arises from two real common situations.
The first: in previous years, before iphone apps appeared, we were used to collect a lot of maps of cities and places we visited for journey or holidays. I love maps because they both represent the journey's state of mind and the identity of places. For that reason I always want, when possible, to keep them under my eye at home but the number of walls at home are a finite number...
The second: it happens that an old inherited lampshade can be damaged after several years or can be too old style for our apartments.
And so what to do with maps and lampshade?
Throwing them away in the garbage doesn't sound good to me.
So the idea to dress with maps the lampshade to keep vivid and luminous memories of our personal journeys.
To do that you need vynilic glue, water, paintbrush, shissor and a little of handycraft.
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| http://www.apple.com/iphone/design/#design-video |
Tap is soft and gentle.
Press is hard and short.
I am asking myself if the gestures we make so many times during the day could influence our actitude towards objects and then relationships?
I see very often people interacting with their iphones as they would do with babies, touching them with respect, softness and care...
I am asking myself if the gestures we make so many times during the day could influence our actitude towards objects and then relationships?
I see very often people interacting with their iphones as they would do with babies, touching them with respect, softness and care...
I suppose and hope yes!
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| http://www.youtube.com/watch?v=vR96bTVzx8M |
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| Clockwise, from upper left: Jerry Seinfeld, Ricky Gervais, Louis CK, and Chris Rock. © HBO |
1. It's all about the basics.
"I love jokes so much," says Jerry Seinfeld towards the beginning of the show. "I love them so much." He loves them because they're the indestructible building blocks of comedy. The others agree. "So many of these young guys think it's all attitude," says Chris Rock. "But you have to have jokes under your weird persona, under your crazy glasses, under your crazy voice." Design has basic building blocks too: scale, proportion, hierarchy, contrast. Get those right first. Or, as Seinfeld concludes: "You can put in all kinds of furniture, but you have to have steel in the walls."
2. Once you've mastered the basics, make your work your own.
"Do you think you have to have a thing?" asks Ricky Gervais."Well, you've gotta figure something out," responds Seinfeld. Between all the "things" and "somethings," we know exactly what they're talking about. Every successful comedian is different. The best have an immediately identifiable attitude, whether it's Henny Youngman, Demetri Martin, or the four participants in "Talking Funny." The best designers are no different. Think of how many ways there are to design something like, say, a Vladimir Nabokov book cover. A good designer is a problem solver. A great designer can figure out a way to solve a problem that's completely unique. At one point, Seinfeld tells a Louis C.K. joke his way, and asks, "Is that how it goes?" Louis CK replies, "Well, that's a completely Seinfelded version. You made it...nice." It's one of my favorite parts of the show.
3. Respect your audience.
Chris Rock says: "A lot of comedians have great jokes, and they're like, 'Why is this not working?' It's not working because the audience doesn't understand the premise. If I set this premise up right, this joke will always work." The comics talk about ensuring the audience — so demanding, so easily distracted — is with them for every joke during the act. This doesn't mean talking down or pandering. Rather, it's good old-fashioned respect. I sometimes tell students that every design needs a welcome mat and a doorknob. The first helps a person realize, "Hey, this is for me." The second gives them a way into the design. Good design, like good comedy, is about surprise. But surprise can't happen in a vacuum. It needs a context that establishes familiarity. If you respect your audience, you provide that context.
4. Know your tools.
The tools of a stand up comic are words. Some are good for every job. Some are more powerful and should be used sparingly. All of them are potentially crutches. Louis C.K. says that Jerry Seinfeld once told him, "The F word is like a Corvette." "And I thought," says Louis C.K., "that means that it's fast and it's cool and it's got power and thrust to it. But then I thought, wait a minute, this guy grew up on Long Island and collected Porsches. So to him, a Corvette is a piece of shit, with a Chevy engine, just a flashy bullshit car." Your own favorite tool may be a typeface, or a Photoshop effect, or a certain color combination. Seinfeld says he stopped using the F word when he realized it had become a crutch. Of course, one man's crutch is another man's secret weapon. Or, as Louis C.K. observes, "Where I grew up, a Corvette is an awesome car."
5. Honor your craft.
One striking running theme of "Talking Funny" is that each of the comics works extremely hard, creating challenges where they might just as easily coast. Chris Rock reinvents his entire show every year. Louis C.K. regularly takes his closing bit — the strongest part of his show — moves it to the beginning, and forces himself to create a new show designed to top the old climax. Ricky Gervais says, "Oh, it's not just being funny. It's being proud of your stuff and doing things that other people couldn't do." Louis C.K. adds that, for him, "Easy laughs, cheap laughs, they don't exist." Chris Rock: "How many unfunny comedians have ever sustained a career not being funny?" Mastery of craft is tied to perpetual self-improvement. And, just as in design, mere technique is never enough. Louis C.K. is nervous when he feels he's relying on technical skill. "This bit is working because I know how to do stand up, not because it's something that's important to me." Hone your skills, but make certain they serve ends that are important to you.
6. Don't be afraid of failure.
Good comedians experiment constantly. Every time they test a new joke, they risk bombing. That's why they'll try out new material in smaller venues, polishing pieces in front of live audiences: they need to hear what's working and what's not working. Seinfeld admits that when he was starting out, "I was hitting 500. I would have a good show and a bad show, a good show and a bad show." His very first show was bad. "But success wasn't my objective." He was desperate to simply be on stage, and was willing to risk failure every other night to get there. Designers take risks for the same reasons. Trying something new means not being sure of the outcome. But it's the only way that anyone working in a creative field can hope to make progress. Ambition is a strong enough antidote to fear. Louis C.K. remembers how he idolized good comics: "I wanted to be one of them, and I didn't care if I sucked at it."
7. Finally, never forget you have a special gift.
Ricky Gervais, in a revealing moment, asks, "Don't you ever think, when we make people have this feeling of laughter, and they pay us money: what if they discover they can do it themselves?" The other comics are rather stunned at this. Seinfeld shouts, "But they can do it themselves!" Gervais, almost glumly asks, "Then why are they paying us?" Louis C.K. answers, "We're a high octane version of it. We're pros. They can play touch football, too." And Seinfeld adds: "But that doesn't hurt the NFL." We live at a time when the tools of design are more available than ever before. What client doesn't have a nephew who knows InDesign, or, better still, a spouse with a newly discovered enthusiasm for Powerpoint? Graphic design: anyone can do it, right? Well, yes. But the professionals still understand what it means to do something well. And that confidence makes its own statement.
"I love jokes so much," says Jerry Seinfeld towards the beginning of the show. "I love them so much." He loves them because they're the indestructible building blocks of comedy. The others agree. "So many of these young guys think it's all attitude," says Chris Rock. "But you have to have jokes under your weird persona, under your crazy glasses, under your crazy voice." Design has basic building blocks too: scale, proportion, hierarchy, contrast. Get those right first. Or, as Seinfeld concludes: "You can put in all kinds of furniture, but you have to have steel in the walls."
2. Once you've mastered the basics, make your work your own.
"Do you think you have to have a thing?" asks Ricky Gervais."Well, you've gotta figure something out," responds Seinfeld. Between all the "things" and "somethings," we know exactly what they're talking about. Every successful comedian is different. The best have an immediately identifiable attitude, whether it's Henny Youngman, Demetri Martin, or the four participants in "Talking Funny." The best designers are no different. Think of how many ways there are to design something like, say, a Vladimir Nabokov book cover. A good designer is a problem solver. A great designer can figure out a way to solve a problem that's completely unique. At one point, Seinfeld tells a Louis C.K. joke his way, and asks, "Is that how it goes?" Louis CK replies, "Well, that's a completely Seinfelded version. You made it...nice." It's one of my favorite parts of the show.
3. Respect your audience.
Chris Rock says: "A lot of comedians have great jokes, and they're like, 'Why is this not working?' It's not working because the audience doesn't understand the premise. If I set this premise up right, this joke will always work." The comics talk about ensuring the audience — so demanding, so easily distracted — is with them for every joke during the act. This doesn't mean talking down or pandering. Rather, it's good old-fashioned respect. I sometimes tell students that every design needs a welcome mat and a doorknob. The first helps a person realize, "Hey, this is for me." The second gives them a way into the design. Good design, like good comedy, is about surprise. But surprise can't happen in a vacuum. It needs a context that establishes familiarity. If you respect your audience, you provide that context.
4. Know your tools.
The tools of a stand up comic are words. Some are good for every job. Some are more powerful and should be used sparingly. All of them are potentially crutches. Louis C.K. says that Jerry Seinfeld once told him, "The F word is like a Corvette." "And I thought," says Louis C.K., "that means that it's fast and it's cool and it's got power and thrust to it. But then I thought, wait a minute, this guy grew up on Long Island and collected Porsches. So to him, a Corvette is a piece of shit, with a Chevy engine, just a flashy bullshit car." Your own favorite tool may be a typeface, or a Photoshop effect, or a certain color combination. Seinfeld says he stopped using the F word when he realized it had become a crutch. Of course, one man's crutch is another man's secret weapon. Or, as Louis C.K. observes, "Where I grew up, a Corvette is an awesome car."
5. Honor your craft.
One striking running theme of "Talking Funny" is that each of the comics works extremely hard, creating challenges where they might just as easily coast. Chris Rock reinvents his entire show every year. Louis C.K. regularly takes his closing bit — the strongest part of his show — moves it to the beginning, and forces himself to create a new show designed to top the old climax. Ricky Gervais says, "Oh, it's not just being funny. It's being proud of your stuff and doing things that other people couldn't do." Louis C.K. adds that, for him, "Easy laughs, cheap laughs, they don't exist." Chris Rock: "How many unfunny comedians have ever sustained a career not being funny?" Mastery of craft is tied to perpetual self-improvement. And, just as in design, mere technique is never enough. Louis C.K. is nervous when he feels he's relying on technical skill. "This bit is working because I know how to do stand up, not because it's something that's important to me." Hone your skills, but make certain they serve ends that are important to you.
6. Don't be afraid of failure.
Good comedians experiment constantly. Every time they test a new joke, they risk bombing. That's why they'll try out new material in smaller venues, polishing pieces in front of live audiences: they need to hear what's working and what's not working. Seinfeld admits that when he was starting out, "I was hitting 500. I would have a good show and a bad show, a good show and a bad show." His very first show was bad. "But success wasn't my objective." He was desperate to simply be on stage, and was willing to risk failure every other night to get there. Designers take risks for the same reasons. Trying something new means not being sure of the outcome. But it's the only way that anyone working in a creative field can hope to make progress. Ambition is a strong enough antidote to fear. Louis C.K. remembers how he idolized good comics: "I wanted to be one of them, and I didn't care if I sucked at it."
7. Finally, never forget you have a special gift.
Ricky Gervais, in a revealing moment, asks, "Don't you ever think, when we make people have this feeling of laughter, and they pay us money: what if they discover they can do it themselves?" The other comics are rather stunned at this. Seinfeld shouts, "But they can do it themselves!" Gervais, almost glumly asks, "Then why are they paying us?" Louis C.K. answers, "We're a high octane version of it. We're pros. They can play touch football, too." And Seinfeld adds: "But that doesn't hurt the NFL." We live at a time when the tools of design are more available than ever before. What client doesn't have a nephew who knows InDesign, or, better still, a spouse with a newly discovered enthusiasm for Powerpoint? Graphic design: anyone can do it, right? Well, yes. But the professionals still understand what it means to do something well. And that confidence makes its own statement.
Source http://observersroom.designobserver.com/oblog/post/seven-things-designers-can-learn-from-stand-up-comics/27038/
This chair is made with transparent polyurethane film with high elasticity and ability to return to its original state, commonly used as a packing material. The chair seems to consist of nothing but a backrest and armrests.
Interesting and contemporary the theme of working on material taken from other contexts of use and reducing to minimum the need of joint, assembly and product weight.
Sustainable!
Interesting and contemporary the theme of working on material taken from other contexts of use and reducing to minimum the need of joint, assembly and product weight.
Sustainable!
About transparency see also Kartell, last year with The Invisible of Tokujin Yoshioka.
A working installation by We Do Studio, to produce a stitch less heat pressed bag.
A simple two-dimensional shape through cutting the handle following a line transforms into a three-dimensional essential bag.
At Ventura Lambrate, RCA Intent.
Materials: Kvadrat fabrics and Bemis adhesive technology.
A simple two-dimensional shape through cutting the handle following a line transforms into a three-dimensional essential bag.
At Ventura Lambrate, RCA Intent.
Materials: Kvadrat fabrics and Bemis adhesive technology.
In these dresses by Ginna Lee emotions speak loudly and clearly to the spectator.
At Ventura Lambrate, Designersblock
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| Photograph by Jonas Lindström |
The Swedish designer Mattias Ståhlbom from TAF studio has created this polypropylene light in a hand knitted net for Swedish design brand Zero. This lights, called Fisherman, are based on old fashioned glass fishing floats once used by fishermen in many parts of the world to keep their nets afloat. The nets are individually hand knitted in Hönö on the west coast of Sweden.
Diameter 650 mm and 400 mm. E27 or compact flourescent 1x26-42W.www.dezeen.com
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| Photograph by Jonas Lindström |
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| Photograph by Mattias Ståhlbom |
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| Photograph by Mattias Ståhlbom |
From tourdefork, an italian food design laboratory, a product that re-uses kitchen wastes and give taste to our homes, the Orange Peel Hanger. In the italian houses during winter its usual to find orange, mandarin or lemon peels placed on a warm radiator. The oils contained in the skins evaporate and engulf the room with their fragrance. Funny and energetic the contrast between the white of the radiator and the orange of the peel.
Which of you have never played like this with a closed umbrella when child?
Dragging the umbrella on the ground because it was too long for you, or you were tired because of the weight of it. Waiting for a bus on a rainy day using the tip of the umbrella as a pen to draw on the sidewalk.
Here below two projects for umbrellas result of creativity and observation, very cool!
Wheel Umbrella
While walking you rely the umbrella on the wheels in order not to feel the weight and dragging through rain puddles, like magic, funny smiles appearing.
Designers: Lin Cheng-Han, Chung Yu-Hsun, Cheng Yu-Ting & Chen Shaw-Chen. Wheel Umbrella
While walking you rely the umbrella on the wheels in order not to feel the weight and dragging through rain puddles, like magic, funny smiles appearing.
Rain Brush Umbrella
A silicon tip like a paint-brush dip into the rain puddles of the sidewalk let you draw water graffiti.
Free-standing bookshelves entirely made in Re-board with interlocking joints.
Re-board is a paper based board, it is incredibly lightweight yet exceptionally strong. It is durable and contains no harmful components and it is form stable. And because it utilising waterbased adhesives it can be recycled as paper in normal waste paper streams.
Re-board is a paper based board, it is incredibly lightweight yet exceptionally strong. It is durable and contains no harmful components and it is form stable. And because it utilising waterbased adhesives it can be recycled as paper in normal waste paper streams.
Libreria autoportante interamente realizzata in Re-board con giunti ad incastro.
Structural shelves and uprights will be constructed from 10mm sheet doubled without break, in order to have a total thickness of 20mm. Besides increasing the resistance, in this way the view of the interior in reboard is limited to the maximum, in fact you can see it only to the short sides of bookshelves.
Ripiani e montanti strutturali, sono costruiti risvoltando e raddoppiando in modo continuo un foglio da 10mm in reboard, si otterrà così spessore complessivo di 20mm. In questo modo oltre ad aumentare la resistenza degli elementi si limita al massimo la vista dell'interno in reboard, che resterà visibile solo sui lati corti della libreria.
Quali sono i canoni della bellezza? Impossibile determinarli a priori ma possiamo dire che in ogni opera d’arte sono rintracciabili il contrasto, il ritmo e l’enfasi.
The ghost sock, an example of ill-defined problem. Why not leave common sense and thinking about a sock built and designed specifically for each type of shoe? London Subway- GB.
Approssimazione alla soluzione
Il calzino fantasmino, ovvero un problema non risolto o mal definito in partenza. Perchè non uscire dal senso comune e pensare a una calza integrata e progettata appositamente per ogni tipo di scarpa? Metropolitana di Londra - Gran Bretagna.
The innovative element of this project, which challenges common sense and encourages thinking outside the box, utilizes a projected shadow to visualize the image of the number of cameras. Luxx Hotel, Bangkok - Thailand
Ombra illuminata
L’osservazione dei fenomeni e dei comportamenti delle persone sono alla base del design thinking. Sfidare il senso comune, pensando fuori dagli schemi è l’elemento di innovazione di questo progetto che utilizza un’ombra proiettata per visualizzare l’immagine del numero delle camere. Luxx Hotel, Bangkok - Thailandia
Architetture in miniatura per bambini
Conservate gli imballi di cartone e utilizzateli per costruire le sagome degli edifici che considerate come i più rappresentativi dell'evoluzione dell'uomo. Sul retro fissate con delle graffette delle L di cartone che fungano da base dell'edificio. Avvicinate poi alcuni personaggi beniamini dei vostri bambini e incominciate a giocare con loro. Avrete ottenuto così un gioco sostenibile, a bassisimo costo che stimola la creatività e che vi permette di inventare storie nuove e sviluppare nei piccoli il senso delle forme, delle proporzioni e dell'armonia.
Conservate gli imballi di cartone e utilizzateli per costruire le sagome degli edifici che considerate come i più rappresentativi dell'evoluzione dell'uomo. Sul retro fissate con delle graffette delle L di cartone che fungano da base dell'edificio. Avvicinate poi alcuni personaggi beniamini dei vostri bambini e incominciate a giocare con loro. Avrete ottenuto così un gioco sostenibile, a bassisimo costo che stimola la creatività e che vi permette di inventare storie nuove e sviluppare nei piccoli il senso delle forme, delle proporzioni e dell'armonia.
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