The clip shows an analysis of the plaza of the Seagram Building in NYC and what makes it so effective as a small urban space.
A busy place for some reason seems to be the most congenial kind of place if you want to be alone. […] The number one activity is people looking at other people.
The video was adapted from a book of the same name by William H. Whyte, who is perhaps most well known as the author of The Organization Man. The video is largely out of print — which is a shame because that clip was fascinating — but I found a DVD copy for $95 (which price includes a license for public performance). (via migurski)
The Winterhouse Awards for Design Writing & Criticism seek to increase the understanding and appreciation of design, both within the profession and throughout American life. A program of AIGA, these annual awards have been founded by Jessica Helfand and William Drenttel of the Winterhouse Institute to recognize excellence in writing about design and encourage the development of young voices in design writing, commentary and criticism.
The main award is $10,000 with a student award of $1000.
Take a logo as simple as the Mercedes-Benz star. Just three points framed by a circle, its geometry is easily described in a few lines of Mathematica code, with some obvious parameters controlling the number of points on the star, the sharpness of the star’s points, the thickness of the outer circle, and the orientation of the star.
Good design is innovative. It does not copy existing product forms, nor does it produce any kind of novelty for the sake of it. The essence of innovation must be clearly seen in all functions of a product. The possibilities in this respect are by no means exhausted. Technological development keeps offering new chances for innovative solutions.
Rams was the influential designer behind many Braun products and described his design approach as “less, but better”. (via df)
In a NY Times op-ed piece, Emily Oberman and Bonnie Siegler argue that the Oscars should have a category for the design of title sequences. Hear, hear. Their pick for this year’s hypothetical award:
1. “WALL-E,” Susan Bradley and Jim Capobianco/Pixar. These poignant end titles, which show humans and robots flourishing on a revived Earth, offer a quick history of art, from cave paintings to van Gogh. They then proceed to retell the entire movie, this time in the pixelated style of old video games.
The about-face comes after consumers complained about the makeover in letters, e-mail messages and telephone calls and clamored for a return of the original look. Some of those commenting described the new packaging as “ugly” or “stupid,” and resembling “a generic bargain brand” or a “store brand.”
“Do any of these package-design people actually shop for orange juice?” the writer of one e-mail message asked rhetorically. “Because I do, and the new cartons stink.” Others described the redesign as making it more difficult to distinguish among the varieties of Tropicana or differentiate Tropicana from other orange juices.
David Wertheimer notes that the decoration of the packaging was not the main issue, the design was:
As a loyal Tropicana buyer, I don’t love the straw-punctured fruit or the old logo at all. What I love is Tropicana juice. And the new packaging made it hard for me to buy it. My preference was hidden in small type; the cartons no longer differentiated on the shelves. It took me longer to shop, and twice this winter I went home with the wrong juice.
Have you ever noticed that the rear side window on a BMW has a small design element that hooks back toward the front of the car?
Rather than having the rear side window extend all the way down as might be expected, it angles back toward the front of the car.
Yeah, me either, but apparently all BMWs have it. It’s called the Hofmeister Kink, so named for the Director of Design at BMW who oversaw the style tweak, Wilhelm Hofmeister. Other carmakers have copied the Kink to make certain models appear luxury. (via spronblog)
In Germany in the 1920s, towns, banks, and companies printed their own money called notgeld.
Notgeld was mainly issued in the form of (paper) banknotes. Sometimes other forms were used, as well: coins, leather, silk, linen, stamps, aluminium foil, coal, and porcelain; there are also reports of elemental sulfur being used, as well as all sorts of re-used paper and carton material.
Still, I wonder if we haven’t lost something in the process: the deliberation that comes with a slower pace, the attention to detail required when mistakes can’t be undone with the click of a mouse. Younger designers hearing me talk this way react as if I’m getting sentimental about the days when we all used to churn our own butter.
What could Arnell, the agency that did the deed, have been thinking? It’s one thing to change the logo; it’s another to abandon the mnemonic orange with the straw in it. As package imagery goes, it was pretty smart, and decidedly memorable.
He goes on to call the redesign “a big tactical mistake”. I’m a Tropicana drinker and I think the new packaging sucks. It’s impossible to figure out at a glance which juice is which because all the packages look the same, aside from some thin lines at the very top. Horrible.
As promised, the redesign of this site started last week is still in motion. I’ve just made a bunch of small tweaks that should make the site more readable for some readers.
- Fonts. In response to a number of font issues (many reports of Whitney acting up, the larger type looking like absolute crap on Windows), I’ve changed how the stylesheets work. Sadly, that means no more lovely Whitney. :( Mac users will see Myriad Pro Regular backed up by Helvetica and Arial while PC users will see Arial (at a different font-size). In each case, the type is slightly smaller than it was previously. I’m frustrated that these changes need to be made…the state of typography on the web is still horrible.
- Blue zoom border. Oh, it’s staying, but it’ll work a bit differently. The blue sides will still appear on the screen at all times but the top and bottom bars will scroll with the content. I liked the omnipresent border, but the new scheme will fix the problems with hidden anchor links and hidden in-page search results and allow for more of the screen to be used for reading/scanning. It breaks on short pages (see: the 404 page) and still doesn’t work quite right on the iPhone, but those are problems for another day.
- Icons. Updated the favicon and the icon on the iPhone to match the new look/feel.
- Misc. Rounded off the corners on the red title box. Increased the space between the sidebar and the main content column.
Thanks to everyone who offered their suggestions and critiques of the new design, especially those who took the time to send in screenshots of the problems they were having. Feedback is always appreciated.
The design of kottke.org has been mostly the same since 2000…a garish yellow/green bar across the top and small black text on a white background everywhere else. (See the progression of designs since 1998.) People absolutely hated that color when I first introduced it1, but it stuck around — mostly out of laziness — and that pukey yellow became the most visible brand element of the site.
Two days ago, I refreshed the design of the site and, as you may have noticed, no more yellow/green. The other big changes are: bigger text set in a new font, a blue “zoom” border around the page, and the addition of titles to the short posts.
(A brief nuts and bolts interlude… For most of you, the site will look like this. If you’ve got Myriad Pro on your machine — it comes free with Acrobat Reader and Adobe CS — it’ll look like this…this is the “intended” look. And if you’re a fancypants designer with Whitney installed, you’ll get this rarified view, which I did mostly for me. On IE6, the site will be legible and usable but somewhat unstyled. If you’re not seeing something that looks like one of the above screenshots — if the text is in all caps, for instance — please drop me a line with a link to a screenshot and your browser information. Thanks!)
The blue “zoom” border is the biggest visual change, and it’s an homage to what is still my favorite kottke.org design, the yellow zoom from 1999. I like that kottke.org is one of the few weblogs out there that can reach back almost ten years for a past design element; the site has history. In a way, that border is saying “kottke.org has been around for ten years and it’s gonna be around for twenty more”. At least that’s how I think about it.
I’ve already gotten lots of feedback from readers, mostly via Twitter and email. There were a few technical issues that I’ve hopefully ironed out — e.g. it should work better on the iPhone now — and a couple which might take a bit longer, like the border messing with the page-at-a-time scrolling method. Some people like the changes, but mostly people don’t like the new design, really dislike the blue, and generally want the old site back. This is exactly the reaction I expected, and it’s heartening to learn that the old design struck such a chord with people. All I’m asking is that you give it a little time.
My suspicion is that as you get used to it, the new text size won’t seem so weird and that blue border will likely disappear into the background of your attention, just as that hideous yellow/green did. A month from now, your conscious mind won’t even see the blue — chalk it up to something akin to banner blindness…brand blindness maybe? — but your subconscious will register it and you’ll just know where you are, safe and sound right here at good ol’ kottke.org. And if that doesn’t work, we’ll tweak and move some things around. Design is a process, not a result, and we’ll get it to a good place eventually, even if it takes twenty years.
[1] I wish I had access to my email from back then…everyone hated it and wanted the old design back. Before landing on the yellow/green color, I tried the golden yellow from the previous design, a blue very much like the blue in the current border, and then red. I think each color was live on the site for a few days and my intention was to just keep switching it around. But then I got bored and just left the yellow/green. Gold star to anyone who remembers that short phase of the site. ↩
The Book Cover Archive is a new site dedicated to the “appreciation and categorization of excellence in book cover design”. They just launched but the site already includes 800 covers.
A Canadian pig farmer came up with an interesting solution for herding pigs. Instead of using heavy wooden “chase boards” to guide the pigs, she used a length of fabric of the same color, allowing a single person to do a job once done by many.
The best conceived, designed, and expressed total idea, ever: Barack Obama’s entire campaign, each and every part of it, including Barack Obama.
Two designs I found interesting were the Surface Table (made of carbon fiber, it’s only 2mm thick for a 13-foot-long table!) and Boudicca Wode Perfume, which sprays on blue and fades to transparent over time. (via quips)
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