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GRAPHICS: Ben Long Etches Beautiful Reverse Graffiti Drawings in Exhaust Grime on Commercial Trucks

by Lori Zimmer, 05/21/12

green design, eco design, sustainable design, Ben Long, Dirt Drawings, reverse Graffiti, ephemeral drawings

British artist Ben Long uses a surprising medium for his reverse graffiti artwork – the grime that builds up from exhaust emissions on traveling cube trucks. Using only his finger, the artist has created a series of ephemeral drawings of children, birds and other animals in the layers of dirt. The project, called “The Great Traveling Art Exhibition,” is an ongoing series that takes over the back of commercial trucks, which are usually emblazoned with advertisements.

green design, eco design, sustainable design, Ben Long, Dirt Drawings, reverse Graffiti, ephemeral drawings

Long uses a subtractive process to create his detailed characters. That is, he carefully etches away the built up film of exhaust on the truck’s surface to create his figures. The “clean” areas become the lines and details of each piece. The resulting works are made through the cleaning and removal of dirt.

Each of the pieces is made on a commercial truck that is in use, so naturally the trucks drive all over, showing Long’s work to many different people throughout their runs. Yet, being a moving vehicle that is in commercial use, the pieces are impermanent, vulnerable to rainstorms, vandals, and the owners’ desire to wash them. Long creates these temporary pieces on trucks because it is a way for people to see his art without the need for a studio, gallery or financial backing. All he needs is an idea and a cup of water to get started. The drawings in dirt are captured in photographs so that Long and his fans can appreciate each art work long after it has been washed away.

+ Ben Long


Read more: Ben Long Etches Beautiful Reverse Graffiti Drawings in Exhaust Grime on Commercial Trucks | Inhabitat - Sustainable Design Innovation, Eco Architecture, Green Building

Feist

‘Bittersweet Melodies’

April 9, 2012 

“Bittersweet Melodies,” the latest video from Feist’s album Metals, features the work of Argentinian photographer Irina Werning, who creates new images by juxtaposing people in the present with images from their past. “I love old photos, but I love even more to recreate them,” says Werning. “When I fall in love with a picture I don’t stop until I have them in front of me dressed like this doing that thing they were doing. I’m always amazed that they do it.”



Read more: http://www.rollingstone.com/videos/new-and-hot/feist-bittersweet-melodies-20120409#ixzz1sRDWTRcD

ARTICLE: User Experiment and Companies

User Experience Is The Heart Of Any Company. How Do You Make It Top Priority?

If you start with “useful” as a first principle, then you automatically place customer need and experience first, writes Wolff Olins’s Mary Ellen Muckerman.

The closer you are to your customers, the more relevant your product will be and the more likely you make it for people to choose you. It may seem obvious, but the gap between those that do and those that talk is widening, despite the immediate bottom-line benefits. But more than this, companies that put usefulness at the heart of what they do become part of their customers’ lives. Engaging with customers then becomes an ongoing conversation, rather than the stop-start involvement that characterized the 20th century. This makes it much easier for customers to come back, and keep coming back.

Who are you for?

Usefulness is best achieved by thinking about everything as user experience. If you start with “useful” as a first principle, then you automatically place customer need and experience first. And you’re less inclined to get lost in your own jargon, product-development silos, or legacy.

Financial services like Zopa or the recently launched Simple (first known as BankSimple) are taking customer needs into account by addressing the frustration associated with the traditional banking system. Zopa shifts control away from conventional banking by encouraging peer-to-peer lending. And Simple creates a user-experience layer on top of standard bank partners that is more human, more modern, and more transparent. It speaks to customers in terms of personal savings goals and cuts through the jargon of the banking industry.

Designed to evolve with life

My experience tells me that the smartest approach to getting this right is to borrow from the playbook of user experience (UX). While this is often associated with the Web, consumers who experience good UX online don’t switch off their expectations when they switch off the computer.

The principles and theories of UX have created a new normal in terms of brand delivery and interaction. They state that how people actually use your product is much more important than how it was intended to be used. So engaging your consumer in ongoing, iterative product development is more valuable than holding out for a “perfect” product launch. It is far better to get started in a live environment and be prepared to change fast around the needs of the user. As a result, consumers need to know what to expect from your product, as well as what you expect from them. This means they need openness and transparency from you. If they make choices online based on honesty and credibility of comments, forums, and communities, they’ll expect you to be a part of that same engaged and involved culture.

Today’s most successful ”useful” organizations are oriented around this ethos. Their feedback loops (listening to their customers) and iterative releases (frequent launches) make them more fluid, responsive, and relevant than their competitors. The height of this relationship is co-creation, where consumers are engaged to create the product or services themselves.

How can a business evolve through customer feedback?

Walgreens provides a good example of how a business can evolve through customer feedback. From its beginnings as a local Chicago pharmacy more than a century ago, Walgreens became the largest drugstore chain in America. But by 2010, they were yearning to reposition themselves as leaders in wellness. Rethinking what it means to be a community pharmacy in the 21st century, Walgreens invited their customers into the process. Consumers were given tours of Walgreens’s redesigned pharmacy prototypes and asked to share their hopes and fears about their personal health.

Walgreens found that consumers were looking for simple, engaging, everyday ways to take better care of themselves. The company used that information to deliver an experience that reflected their commitment to staying useful to customers—the ”health and daily living” store format, which the company took from concept to in-market pilot in record time. The stores integrated new roles, digital tools, and spaces to help customers live healthier everyday lives. A desk area in front of the pharmacy brings Walgreens pharmacists out from behind the counter so they can consult with patients one on one. Private consultation rooms provide additional space for immunizations, blood pressure readings, and other services. Web pickup services allow customers to shop online, and self-serve touch-screen kiosks let them quickly refill their own prescriptions. Customers also have access to a staff member called a Health Guide, who is equipped with an iPad app loaded with health tips and frequently asked questions. The new store format has been introduced in 20 stores in the Chicago area, and Walgreens is converting all its stores in the Indianapolis market.

Don’t always ask the audience

Being useful doesn’t always mean asking the focus group. It’s fair to say that customers don’t always know what they want. Customers now play an increasingly equal, participatory, and critical role in brand and business. But co-creation should not be accepted as a default solution to every challenge. Even when consumers do know what they want, empowering them to create it might not result in the most impressive solution. Observing consumers is usually a more effective way of discovering unmet or poorly met needs, and can reveal hacked solutions that suggest real opportunities of how to be useful in the world.

Observing consumers can reveal hacked solutions that suggest real opportunities

Let’s look at M-Pesa, whose founders witnessed people in Kenya using pay-as-you-go mobile phone minutes as currency. In response, they launched a branchless banking service that allows customers to transfer money, pay bills, and make withdrawals via their mobile phones. Within two years, it was conducting two million transactions a day, and 66% of Kenyans had used it at least once. Co-creation on its own often leads to small and valuable improvements, but it takes a bigger vision to build an extraordinary business. Anticipation and observation, although riskier, hold out the promise of making yourself truly useful at a higher level.

***

3 Case Studies

Be More Like Apple

Think how you can be useful in areas that are not necessarily in your core but still drive customers to your business.

Apple’s ascendance during the past decade has distinguished it as a company that takes its own point of view into the market and then creates new customer needs (and therefore value) by improving devices that already exist in that market. By combining hardware, software, and services in a unique and useable way, it has built entirely new ecosystems of value from previously nonexistent customer demand.

Take the iPad, for example. Demand for the first-of-its-kind tablet skyrocketed after its launch, selling 300,000 tablets in the U.S. alone within the first 24 hours of sale. Two years later, the iPad continues to dominate the market, accounting for a reported 97% of all online Web traffic coming from tablets.

Be More Like M-Pesa

Look for ways that customers are navigating around obstacles and build a business out of that.

M-Pesa is a branchless banking service that uses mobile technology, and is currently available in Kenya, Afghanistan, and Tanzania. M-Pesa designed for people in rural areas where banking services are
scarce. Its founders observed that Kenyan locals were trading mobile minutes as currency. So they created a service that offers money transfers, bill payments and withdrawals—all through mobile phones. It is also creating adjacent services: M-Health, an agribusiness, and M-Farm which allows farmer co-ops to buy products via SMS and pay via M-Pesa.

Be More Like Zopa

Consider how you can connect your customers directly to one another. And have them create mutual value.

Zopa is the world’s first peer-to-peer money lending service. Addressing head-on the hassle and hidden fees associated with the banking system, it connects borrowers and lenders directly, creating a level of control and customer service unmatched by traditional banks. Zopa reduces lending risks by grouping together borrowers with similar track records and spreading borrowing requests across multiple loaners. The company gained more than 130,000 members within just two years of launch.

This story is part of Wolff Olins’s Game Changers report. Read the rest here.

Source: Fast Company

HOW TO: How to Design Your Pad (Mr.Porter)

Illustrations by Mr Angelo Trofa

In my experience when it comes to the manner in which men present their lodgings, the aesthetic tends to fall into two categories: either they live in what look like student digs - regardless of the value of the real estate - or they have a designer do a poor interpretation of New York’s Mercer Hotel - a male Mecca. In truth, neither really works. For me, the ideal aesthetic for a bachelor pad lies somewhere between Withnail and I and American Psycho.

Given a lot of men are slightly at sea when decorating their homes, the easiest place to start is with comfort, albeit stylish comfort. If you are comfortable at home then others will gravitate to it as well. If you’re considering revamping your pad, think about what you like and how you want to live in it. If it is a place you enjoy, it is less likely to end up with a sports bag in the hall and leftover Chinese take away in the fridge as the only other inhabitants.

ritakonig.com


Like your bed sheets, towels are best white (although I rather like pale blue). They should be replaced when they start to lose their whiteness. Oh, and use fabric conditioner. No one likes to wipe their face with sandpaper.

Large black and white photographs of Sir Mick Jagger in the 1970s or racecars from the 1950s, along with CD towers and those lights that hang over the expensive sofa from a large marble block, are all no-nos. Be original.

Be very cautious about buying anything after a long, boozy Saturday lunch. Trust me, this comes from experience.

There’s a reason your mother wants to offload all that 1990s furniture on you. Don’t let her - or anyone else for that matter.

Source: Mr Porter

WORDS: Thought comes first - by Helmut Staubach

Helmut Staubach, photo © Esch-Kenkel

Design is not art: A terse assertion that nevertheless always succeeds in provoking contradictions. We no longer require any special proof that the walls dividing art and design have been torn down. Artists’ consideration of consumerist behavior as a central theme in their works is nothing new, nor are their reflections on the role that product culture plays in the formation of identity. The shrill postmodernist design of the 1980s experimented with dramatic artistic forms and was bursting with wit, demonstrating that drawing a distinction between serial products and one-off artworks is an impossible feat. There is doubt that this targeted affront to such established associations and to these now beloved spheres was the trigger for debates on designers’ place in society and for a great deal of self-reflection on behalf of the designers themselves with regards to the conditions of his work. But discourse on design and design in practice have a rather ambivalent relationship to one another. Radical strategies are limited in their relevance when designing practical object destined for mass or industrial production. In this sense, designers do not enjoy the same privileges as artists, which afford them free reign in their creativity, turning the world we live in on its head. Therefore, and this is the key point here, social and functional parameters remain constitutive of the realization of their designs.

No one is in a position to put a definitive finger on the imaginary demarcation line between art and design. Only one thing is certain: Design for mass production is always bound to conventions (in the sense of a social consensus). They prescribe a framework within which the function and effect of objects is to be conceptualized. The individual challenge for the designer is to interpret, reformulate, bend or partially breach these conventions. By transforming or reformulating established parameters, they permanently define what convention is, what it remains and what it will become. Insofar the quality of design is also measured by the extent to which it counteracts habitual behavior and norms. Considered from such a viewpoint, the creation of objects becomes comparable with certain artistic strategies such as deconstruction.

However, there still appears to be a fundamental difference between the two disciplines. The designer’s break with convention will always remain limited in its reach. The complex conditions required for the actual realization of a design will never be able to ignore such a transgression. That which is feasible will always play a regulatory role in the realization process, reining in designs from the extremities of the imagination. And yet: To keep feasibility in mind while conceiving what could be possible, really is evidence of a designer’s creative competence. This then reveals itself in the originality of an idea and is consequently honored by society in the form of the demand expressed for it (and the reverence afforded to it). On the market (of images) designers no longer come second to artists. Their achievements are ennobled with the signature of their intellectual creator and with the authorship that this attests. In this way, design objects frequent “lifestyle” platforms as though they were one-off pieces. In this particular realm a differentiation between art and design object has ceased to exist. What is important is the objects’ potential for the formation of identity. We are at present witnesses to a rapid attrition of group-specific and individual coding. It is most notably the young who turn to material attributes in order to demonstrate an identity that is in fact only temporary. But although we may seek assurance in the unchangeable, the personal and the incompatible, these elements are not necessarily desired on a long-term basis; and this is not only applicable to the young. Behind the increase of design in the fleeting form of objects hides a longing for the unique and the individual. Viewed in this light, perhaps objects with a more unique aura to them can also compensate for the losses we experience in our high-paced, technology-based culture.

Whether the functional objects find a use as such or are simply presented as original artifacts of a particular lifestyle, is beyond designers’ control, and can even contradicts their intentions. This phenomenon is by no means a new one, above all when one considers the kind of mystique-filled status achieved and long since maintained by prototypes from Bauhaus. And it isn’t their ethical and social programs that have turned these works into highly sought-after collectors’ items. After all, it is their reception that determines whether Wittgenstein’s door knobs, for example, constitute good design or mere indicators of his philosophical thought. The roots to this lay in the historical interconnection between art and design. Design was established in an artistic context but over the past century it has also emancipated itself from art, arts and crafts, or rather applied art, and thanks to Bauhaus achieved autonomy for its institutions. This intellectual emancipation still forms the foundation of our profession.

www.kh-berlin.de
www.buero-staubach.de
Source: Stylepark

(Source: blog.we-designs.org)