Proprietarii Turnului Sears, (care nu au nici o legatura cu SIR din Militari, Bucuresti, Romania) detin cel mai înalt zgârie-nori în Statele Unite (Chicago) si au inaugurat săptămâna trecută, patru platforme-caseta, din sticlă, pentru o perspectiva naucitoare.Loje sau balcoane, custi sau acvarii, indiferent cum le-ar spune… au dat o lovitura de PR.
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…
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.
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.
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.
pfoa! mizerie! imbecilitate!
Acestea sunt cliseele formulate in diverse nuante si contraste cand nu-ti convine ceva, cand este atipic si daunator imaginatiei. Iata ca tocmai s-a produs producerea si rgb incearca sa preia cmyk. Evident, toata lumea stie ca R – red (rosu) este format din magenta si galben, G – green (verde) este tocmit din galben si albastru iar B – blue (albastru) este rezultatul contopirii de magenta si cyan. Daca iei repede, o sa-ti spun ca sunt culori primare ale culorilor primare, adica, cmyk formeaza rbg. So, nu vad ce atatea traumatizme exteriorizate prin diverse moduri de vaicareala, atata timp cand la baza sta tot principiul coloristicii cmyk.
Un designer coreean a inventat un pix care combina culorile prin 3 surse de cerneala. Are cartus de r (red), g (green) si b (blue). Iar darele pe care le lasa prin simpla functie de ‘print’ este evident combinarea cernelurilor. Ce reproduce? Oooooooh! aici e frumusetea uneltei. Are un senzor care scaneaza obiecte si apoi interpreteaza in interiorul sau ce culoare trebuie reprodusa.
Color picker pen functioneaza simplu. Si ca orice inventie are adepti si detractori.
De ceva vreme aud tot felul de povesti dar si povestiri despre avantul pe care o ia tehnologia si aplicatiile sale periculos de prietenoase. De ce periculoase? – pai sunt dedicate copiilor (care ies din ce in ce mai greu la joaca, afara, in natura)… De ce prietenoase? – este singurul mod de a atrage adultii (cei care au bani, fireste) sa achitioneze gadget-uri si aplicatii prin jocuri. Copilul vrea si in cele din urma primeste. Acum, ca e wii sau psp sau xbox nu cred ca mai conteaza decat pentru statistici.
Hi-tech inunda casele si locul cartilor din biblioteca este luat de suportul de plastic al CD, DVD, Bray… Si totusi cred ca apar ciclic, timpi cand nu mai faci fata ritmului alert si vrei o revenire scurta la o perioada trecuta (vor reapare gramofoane si placile, pick-up-ul cu vinyl-uri, deck-uri cu casete, magnetofoane cu role de aluminiu, orga de lumini, tuburile cu lichide colorate sau neoane fosforescente montate dupa canapea). Evident, se va specula pretul si calitatea produselor. Dar ce mai conteaza…
Nu, nu sunt impotriva noii tehnologiei. Nu, nu sunt un melancolic ancorat in trecut. Nu sunt un futurist, nu sunt nici retro. Sunt doar un biet observator la galopul industriei inteligentei artificiale si al aplicatiilor sale in mediul domestic, cat mai aproape de imaginatia noastra. Pentru ca fiecare dintre noi are vise in copilarie, are dorinte la pubertate, are nazuinte in adolescenta si teluri cand devine adult. Fiecare gand este tradus intr-un pret sau tarif.
Cine nu a citit Asimov poate vedea cum fictiunea stiintifico-fantastica devine stiinta cu aplicatii fabuloase:
Intrebare: copilul din tine ce doreste? (wii? xbox? psp?)
saptamana trecuta am gasit citate extrem de interesante despre DESIGN. Citate ale unor designeri creativi, artisti si ingineri vizionari. Totul se invarte in jurul artei si a matematicii aplicate sau a mecanicii cotidiene. Redau citatele:
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.
Am reusit sa adun mai multa fotografie a/n de colectie bolsevica. Unul din furnizori mi-a spus ca militia l-a alergat 2 ore sa-i ia Smena, pentru ca a incercat sa surprinda decesul dramatic al unui lucrator in constructii. Acel set nu m-a interesat si nu l-am luat, desi ca sunt constient ca ar fi facut valva mare!
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.
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…
