Sambata, 19 decembrie 2009, de la ora 14:30 incepe switch-gift party.

Fiecare invitat participa cu cate un cadou simbolic de cca.5 euro si va pleca acasa cu cadoul de cca.5 euro facut de altcineva!

Toata voia buna va fi completata cu filmul care incepe de la ora 16:00…si multe alte surprize!

Nu ratati evenimentul! Vom fi extrem de bucurosi sa petreceti si voi alaturi de echipa noastra!

echipa hülsta studio si prietenii

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Aceste balcoane sunt suspendate 1353 ft. (412 m), în aer, la etajul 103. Ele sunt 10×10 ft. (inaltime si deschidere), 7 ft. adancime, poate ţine 5 tone, pe planseul din sticla de o grosime de 1,5 inch (aprox 4cm).

Dpdv estetic, arhitectural, e o surpriza placuta, dar utilitatea sa are destinatii dubioase si este destul de nisat: inconstienti sau sinucigasi in terapie. Hai sa vizualizam si de ce (sursa foto BollyBite):

Ma gandesc totusi ca nici pentru pasari sau insecte nu e usor sa ocoleasca balconul… Lasand gluma in seama prospectilor, curiozitatea ma indeamna sa intreb retoric: de ce s-au folosit preponderent copiii in sedinta foto? Inconstienta vs. Curaj… or ? In mod cert vor sa vanda/ inchirieze ceva prin cladire si de aici o intreaga strategie… care, vezi bine, a insemnat o investitie mai mult decat un ROI bine argumentat financiar dar cu o notorietate exploziva. Si totusi alegerea copiilor pentru comunicare vizuala mi se pare fortata… dar ce stim noi, astia din periferia Europei…

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S-a mutat la Coasta de Vest când era tânăr, în prezent avand reşedinţa la nord de Seattle, Washington.
Cariera sa profesională ca un designer şi ilustrator a început în Seattle, în 1961, intrerupta de un tur al datoriei de militar prin Vietnam cu pusca de asalt. Inapoiat la vatra, Eric a fost angajat ca designer de Naramore, Bain, Brady & Johanson (o firmă naţionala de arhitectură). Mai târziu, el a lucrat cu departamentul de arheologie la Universitatea Cambridge ca illustrator de situri arheologice în Franţa, Grecia, Israel şi Anglia.

Revine in State si lucreaza ca ilustrator si iconograf freelancer.

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inainte de a multumi din nou gazdei noastre, imi prezint scuzele pentru intarziere. Daca tot nu am apucat sa ’saturez culoarea’ unor musafiri grabiti, am reusit sa port o discutie aplicata cu Arh. Remus Frunza despre tapet, culoare si sinteticul in forme naturale.

Cu Arh. Adrian ‘Ciocu’ Ciocazanu am abordat literatura de specialitate si aspteptam feedback in proiectul AdLittera pentru a sprijinii editura in care este asociat.

Cu Katja s-a discutat foarte putin despre arhitectura peisagera pentru ca a dorit sa fie prezenta si la un alt eveniment.

Salutam pe tinerii marketeri, Sebastian si Elena, care s-au alaturat Magdei si Iuliei la o retorica despre constiinta eco si necesitatea educarii tinerilor in acest sens.

Cuzina mai are expuse cateva panze in showroom.

Arh. Cristina Serban, te rog sa ma completezi!

Promit ca relaxart va deveni un reper in mediile sociale, printre iubitorii de arta si creatorii de frumos care, cu certitudine, vor gasi scopuri comune.

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1. James Randolph Adams

Great designers seldom make great advertising men, because they get overcome by the beauty of the picture – and forget that merchandise must be sold.

2. Milton Glaser

The real issue is not talent as an independent element, but talent in relationship to will, desire and persistence.

3. Charles Eames

Design is an expression of the purpose, and it may (if it is good enough) later be judged as art; design depends largely on constraints and it is a method of action (there are always constraints and these usually include ethic).

4. Douglas Adams

A common mistake that people make when trying to design something completely foolproof is to underestimate the ingenuity of complete fools.

5. Milton Glaser

To design is to communicate clearly by whatever means you can control or master.

6. John Maeda

If there were a prerequisite for the future successful digital creative, it would be the passion for discovery.

7. Kate Krebs

Waste is a design flaw.

8. Clement Mok

Design, in its broadest sense, is the enabler of the digital era – it’s a process that creates order out of chaos, that renders technology usable to business. Design means being good, not just looking good.

9. John D. Berry

Only when the design fails does it draw attention to itself; when it succeeds, it’s invisible.

10. Jorge Frascara

Good graphic design solutions to communication problems can improve the flow of information in society and, therefore, substantially and positively affect education, social well-being and the daily enjoyment of life. In addition, good graphic design solutions can also have a positive economic impact.

11. David Hockney

Art has to move you and design does not, unless it’s a good design for a bus.

12. Scott Adams

Creativity is allowing yourself to make mistakes. Design is knowing which ones to keep.

13. Freeman Thomas

Good design begins with honesty, asks tough questions, comes from collaboration and from trusting your intuition.

14. Milton Glaser

There are three responses to a piece of design – yes, no, and WOW! Wow is the one to aim for.

15. Stanley Morrison

Type design moves at the pace of the most conservative reader. The good type-designer therefore realizes that, for a new fount to be successful, it has to be so good that only very few recognize its novelty.

16. Jenaiha Woods

Design is the contrast of the core of limitations therefore there are no boundaries. It is simply an interpretation of creativity.

17. Jeffery Veen

Designers can create normalcy out of chaos; they can clearly communicate ideas through the organizing and manipulating of words and pictures.

18. Adrian Frutiger

If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page… When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.

19. Jan Tschichold

Perfect typography is certainly the most elusive of all arts. Sculpture in stone alone comes near it in obstinacy.

20. Massimo Vignelli

I see graphic design as the organization of information that is semantically correct, syntactically consistent and pragmatically understandable.

21. Zuzana Licko

The most popular typefaces are the easiest to read; their popularity has made them disappear from conscious cognition. It becomes impossible to tell if they are easy to read because they are commonly used, or if they are commonly used because they are easy to read.

22. Adrian Frutiger

Helvetica is the jeans, and Univers the dinner jacket. Helvetica is here to stay.

23. David Carson

If you have no intuitive sense of design, then call yourself an “information architect” and only use Helvetica.

24. Alexander Gelman

Any good typeface can be completely destroyed when misused or extensively overused. Helvetica seemed to sustain a beating like no other. Still fresh, still popular, Helvetica is king.

25. Paola Antonelli

Designers may be the true intellectuals of the future.

26. Erik Adigard

Design is in everything we make, but it’s also between those things. It’s a mix of craft, science, storytelling, propaganda, and philosophy.

27. Steff Geissbuhler

I have never designed a logotype without first trying it in Helvetica. It is still the most versatile, classic and readable of all typefaces.

28. Michael Ian Kaye

What a graphic designer tries to do is make sure the typography is emotionally consistent with the brand.

29. Massimo Vignelli

The life of a designer is a life of fight. Fight against the ugliness. Just like a doctor fights against disease. For us, the visual disease is what we have around, and what we try to do is cure it somehow with design.

30. Roi James

Great design is all about details. With innovative material selection, sensible construction techniques and modern aesthetics one can craft a unique design language that sets a new standard.

31. Frederic W. Goudy

Anyone that would letterspace blackletter would steal sheep.

32. Eric Gill

There are now about as many different varieties of letters as there are different kinds of fools.

33. Wolfgang Weingart

Berthold is still a good typeface, but even Berthold has some less than attractive features, and then I just cut them off because I didn’t like them.

34. Luke Wroblewski

Visual organization is the deliberate prioritization of meaning within a visual design. It’s the process of applying the principles behind perception – how we make sense of what we see – to illuminate relationships between content and actions.

35. Jeff I. Richards

Creative without strategy is called ‘art’. Creative with strategy is called ‘advertising’.

36. Serge Zuev

The original idea makes design distinctive, function makes it work and quality adds value.

37. Don Newgren

Design is intelligence made visible.

38. John Maeda

Skill in the digital age is confused with mastery of digital tools, masking the importance of understanding materials and mastering the elements of form.

39. Paul Rand

It is no secret that the real world in which the designer functions is not the world of art, but the world of buying and selling.

40. Linda van Deursen

Grids do not exist in a vacuum. They exist in relation to the content. We never start with a grid. We start with an idea which is then translated into a form, a structure.

41. Steve Jobs

Design is not just what it looks like and feels like. Design is how it works.

42. Richard Grefé

Design is the intermediary between information and understanding.

43. Nolan Bushnell

The ultimate inspiration is the deadline.

44. George Santayana

Graphic design is the paradise of individuality, eccentricity, heresy, abnormality, hobbies and humors.

45. Hans Hofmann

The ability to simplify means to eliminate the unnecessary so that the necessary may speak.

46. Jon Franklin

Simplicity, carried to an an extreme, becomes elegance.

47. Edward R. Tufte

Confusion and clutter are the failure of design, not the attributes of information.

48. C.W. Ceram

Genius is the ability to reduce the complicated to the simple.

49. Jim Jarmusch

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery – celebrate it if you feel like it.

50. Robin Mathew

Design is where science and art break even.

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(originalul aici). Ma ispiteste o leapsa. Sau o simpla curiozitate: care e parerea ‘romaneasca’. Atentie, subiectul nu este design romanesc!

Mottoul meu este “Designul este mai intai pentru oameni apoi pentru produs”. Deci, cred ca este mai mult uman decat real.

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În acest haos, să revedem împreună secvenţe cu prima urbe a patriei, în anii de glorie a socialismului. Să admirăm ctitoriile şi edificiile, repere ale unui urbanism studiat temeinic la Ştefan Gheorghiu. Împreună să vizionăm străzile şi vehiculele municipalităţii pe străzile mereu gri, precum ale unei soioase emancipări rurale, forţată la standarde metropolitane. Cine îşi aminteşte de Şoseaua Viilor, staţia Sfântul Gheorghe, Dămăroaia, Hala Traian, Calea Moşilor, bucla de la Sfânta Vineri sau de piatra cubică denivelată de pe Şoseaua Olteniţei?

Imaginile au watermark şi se regăsesc şi aici. 

Thousands thanks. End of first part. To be continue.

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Probabil ca nu asa mare rumoare vor produce prin randul tinerilor (cugetatori) instantaneele de mai jos, dar pentru cei care au trecut de 40 de lumanari pe tort (dietetic! sic!) sunt marturii gravate pe scoarta cerebrala. Oricum, foto-reportajele odiseii comuniste vor continua. Multumesc surselor si indeosebi lui Joda.  

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Excelente fotografii. Da, chiar fotografii document, nu simple poze. Nu mai intreb cine avea aparat color atunci, cine avea camera foto binoculara (OMG), cine isi permitea film color… Nici macar in State nu erau pe toate drumurile. Nu intreb pentru ca stim cu toti in ce sistem traiam si in ce strictete si rigoare ne derulam viata cotidiana. Stim cine ne vizita tara şi mai ales de ce… Cine nu stie, poate intreba parintii. 

In opinia mea, sa derulezi amintiri color in slideshow mode imi pare cel putin opulenta grosiera. Dar, imi voi prezenta scuzele daca sunt postate doar cu scopul de a stii /rememora cum a fost pana in 1965. Astazi insa, traim intr-o tara gri, respiram aerul gri, mancam o mancare gri si ne reproducem monocrom. Iar astea datorita inertiei pe care o avem datorita planurilor de urbanism intocmite cu indexul pe hartiile topografice, ale planurilor de rationalizare a hranei si ale planurilor de consiliere maternala si asistenta familiala.

Din 1965 incoa’ nu mai avem culori pastelate nici in obraji, decat prin studiouri foto. Intreb retoric, ca doar asta m-a invatat sistemul gri care slăvea roşul: oare nu e mai bine sa ne amintim de gri-ul crud al anilor 70, atunci cand asfaltul avea miros de cimitire scormonite iar betoanele se ridicau printre lemnele bisericilor strivite? 

Astfel arata Bucurestiul in care m-am nascut eu: o mahala pariziana, vesnic in reconstructie.

Gri. 

Daca recunosti zona, ai din partea Redactiei o plimbare gratuita cu Metroul, intre statiile Dristor – Stefan cel Mare, intr-o seara cand joaca Dinamo meci in Cupa.

Multumesc Radu R. aka Jodahoho pentru materialele foto.

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La mulţi ani!

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