KOPIERER
GRAPHICS: Ben Long Etches Beautiful Reverse Graffiti Drawings in Exhaust Grime on Commercial Trucks
by Lori Zimmer, 05/21/12
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.
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.
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
Before a city becomes a thing of steel, concrete, and glass it is a theater of visions in conflict. As a city ages, the visions do not die but come up against the physical and ideological resistance of the place and its people. This is an account of a Manhattan that could have been – might have been. A phantasmagorical Manhattan where the visionary meets the everyday. The island as we know it is but a pale reflection of a city designed by visionaries – a city of mad, incongruous utopias.
The film (created for Hong Kong & Shenzhen Bi-City Biennale) visualizes several unrealized projects for Manhattan, including Buckminster Fuller’s dome over Midtown, Rem Koolhaas’ City of the Captive Globe, RUR’s East River Corridor, Paul Rudolph’s Eastside Redevelopment Corridor, Morphosis’ West Side Yard and others.
Manhattan Memorious (2012) - Reiser + Umemoto RUR Architecture PC
ARTICLE: User Experiment and Companies
User Experience Is The Heart Of Any Company. How Do You Make It Top Priority?
Written by: Mary Ellen Muckerman
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 opportunitiesLet’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
Magnum Contact Sheets
The Collector’s Edition: Philippe Halsman, Dalí Atomicus, 1948
(Packaged in a presentation case with a numbered contact sheet)
- ISBN 9780500544037
- 34.20 x 28.00 cm
- Hardback
- 508pp
- 435 Illustrations, 230 in colour
- with over 3,600 frames on 139 contact sheets
- First published 2011
Back in stock soonAn exceptional opportunity to own a piece of Magnum’s history: no more covetable collectables have ever been produced. The Collector’s Edition makes contact with the legendary creativity of some of the most influential photographers of all time.
The print (above) included in this case is: Philippe Halsman, Dalí Atomicus• For free delivery in the UK, please enter this code when ordering your copy:
TH165
• To order copies of The Collector’s Edition for delivery outside the UK
please contact:
Alexandra Levy
Thames & Hudson
Tel: +44 020 7845 5000
E: a.levy@thameshudson.co.ukThis special edition consists of a clothbound copy of Magnum Contact Sheetspackaged in a presentation case, also containing one 16 x 12” contact sheetselected from a series of 10, with each contact sheet printed in editions of 50. Each contact sheet is numbered, embossed with ‘Magnum Photos Collection’ on the white border, and hand-stamped with the photographer’s copyright on the verso.
All contact sheets have been produced at Magnum’s own print room as archival Giclée prints and to Magnum’s exacting standards.
See all the other contact sheets that come with each edition here
1 | Being Henry
Being Henry uses Flash as it was originally intended, to open up new possibilities in consumer entertainment. It does this by offering users an interactive film that allows them to guide the aforementioned Henry through several storylines that work together to create a truly unique storytelling experience.
Best Flash Websites | Website Design & Development
2 | The Museum of Me
Intel’s Museum of Me uses information gathered from your Facebook account to create a visual snapshot of your life. The website, created by Fluid Inc. for Intel, turns your photos, videos, and status updates into a virtual tour de force of your life. This website is a must try for all Facebook users.
Best Flash Websites | Website Design & Development
3 | We Choose The Moon
WeChooseTheMoon.org was designed to celebrate the Fortieth anniversary of the Apollo 11 Lunar landing by developing an interactive recreation of the event. The site uses Flash to mesh archival video, audio, & photos into an experience that will make you feel as if you too had walked on the moon that day.
Best Flash Websites | Website Design & Development
4 | Moodstream | Getty Images
Moodstream is a hypnotic website brought to you by the folks at Getty Images that offers a brainstorming tool designed to help get your creative juices flowing. By simply tweaking the mood sliders you can adjust a stream of images, footage, & audio that can help inspire your creative direction.
Best Flash Websites | Website Design & Development
5 | Monoface
Mono is an advertising agency based in Minneapolis, MN that lives by the motto that “simpler is better.” The “Mono”face site lives up to that motto by presenting visitors with a fun and simple Flash application that allows them to sculpt a Mr. Potato Head style face that contains 759,375 entertaining possibilities.
Best Flash Websites | Website Design & Development
6 | Waterlife
Waterlife is a showcase for the documentary film of the same name that offers its audience a wonderful preview of the lush cinematography and rich storytelling found in the film. The true genius of the site, however, is found in its fluid navigation that recalls the gentle motion of a lake.
Best Flash Websites | Website Design & Development
7 | Infinite OZ
Infinite OZ is an artistic collaboration that uses Flash to bring to life the world of the Sci-Fi miniseries event the Tin Man. Visitors are taken on a wonderful journey through the many visually stunning locales that make up the fabled emerald city that may make you want to get lost there forever.
Best Flash Websites | Website Design & Development
8 | Get The Glass
Get The Glass is the work of the California Milk Processor Board and was designed to encourage increased milk consumption by inviting visitors to participate in a comically entertaining Flash based game whose objective is to Get the Glass—of milk of course. The current design appeared in late 2007.
Best Flash Websites | Website Design & Development
9 | Marc Ecko
MarcEcko.com is a wonderful example of using the vast possibilities of Flash to accurately reflect the ethos of a consumer brand within a website. Even visitors unfamiliar with the Ecko brand will feel they understand the art & philosophy it symbolizes within a few minutes of touring the site.
Best Flash Websites | Website Design & Development
10 | Dave Werner’s Portfolio
Dave Werner uses his Flash skills not only to publish his portfolio, but through the use of well narrated video, he also gives visitors a sense of his personal story which seeks to give stronger voice and context to his featured work. The current version of OkayDave.com went live in mid 2006.
Best Flash Websites | Website Design & Development
source: eBiz - http://www.ebizmba.com/articles/best-flash-sites
by Ana Lisa Alperovich, 03/23/12
Taku Satoh Design Office created this 3D paper version of the Japanese Hiragana alphabet in response to the prevalence of superflat media, where we read and watch from 2D screens. Unveiled at Gallery Kobo and called “Two Experiments Exhibition”, the artwork features delicate biodegradable letters created by carefully stacking hundreds of differently shaped pieces of paper.
Taku Satoh Design Office encased each letter inside a wooden box, emphasizing the importance of each one individually and as a collection. Displayed on a dark floor in alphabetical order, the ephemeral artwork stands out and lifts itself from the ground. A work of art, a comment on digital media or just a nice way to learn Japanese, this collection of 3 dimensional Hiragana letters are in interesting and thoughtful way to use paper.
Via Spoon and Tamago
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.







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
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: blog.we-designs.org)







