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20-05-2005
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^that dog camper is funny

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23-05-2005
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Found them!

$25 bucks for a pack of 6.

http://www.midcenturymodern.com/

Go to vitra, its the first item

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24-05-2005
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It may be more art than design...

but it looks nice.

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24-05-2005
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FunTimeParty...I love you forever!

Pricing isn't bad at all, I'm definately going to pick up at least 12

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25-05-2005
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Felt shade by Tom Dixon




and this cute clip by Giulio Lacchetti

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25-05-2005
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the new mba is the mfa??

news story


Happiness is using the brain the right way
By Don Aucoin, Globe Staff

WEST NEWTON -- Daniel H. Pink had a fairly abstract point to make -- namely, that Americans don't seem to be getting any happier even as their material wealth is the envy of the world, leading to what he calls an ''abundance gap."

So as a dozen employees of a product-design firm looked on, Pink bounded out of his chair and tried to illustrate his argument by rapidly scribbling arrows on a whiteboard. ''Being a left-brained kind of guy, I have to do it as a chart instead of as an interpretive dance," he explained, deadpan.

Pink, and the rest of us, might want to work on those dance skills. In the world envisioned in his recent book, ''A Whole New Mind," the competitive edge will belong not to the linear, logical, analytical ''left-brain" lawyers and accountants and computer programmers who have long held sway but to the creative, empathic, ''right-brain" artists and caregivers who have traditionally enjoyed less social status, or at least smaller paychecks.

It may seem hard to believe, since we are all up to our screen-reddened eyeballs in an Information Age that seems to be all about left-brain dominance, but Pink insists that a ''Conceptual Age" is upon us. Thanks to a combination of globalization, outsourcing, and technology, many traditional white-collar jobs are either disappearing or being shipped overseas. When coupled with a growth in ''nonmaterial yearnings," he says, that paves the way for a US economy in which an MFA will be a more potent credential than an MBA, and growing clout will be wielded by creators, inventors, and storytellers.

Even gamers, weekend painters, and would-be screenwriters possess right-brain skills that, while perhaps undervalued at the moment, ''will end up being more and more economically valuable," according to Pink, in part because they cannot be easily outsourced, unlike, say, accounting. ''More people are intrinsically motivated to do these sorts of things than they are to do spreadsheets," he said.

Beyond economic factors lies a growing quest for satisfaction and meaning that matters more to many people than the size of their paycheck. ''Extrinsic motivation might get you through the week, but it won't get you through your life," said Pink, 40, a contributing editor for Wired magazine who worked as a speechwriter for former Vice President Al Gore. ''There's a growing alignment between what people do for joy and what's good for the economy."

Human evidence for his argument was gathered before him in a conference room at Design Continuum, in the form of an individualistic array of design strategists, marketing coordinators, and ''envisioners," who think of ways that new products can fit people's needs. (To be sure, there were also a few mechanical and industrial engineers, who presumably are no slouches in the left-brain department). With 75 employees in its West Newton office and offices in Milan and Seoul, the firm designs consumer and medical products for such clients as American Express, BMW, Cambridge Soundworks, Andersen Windows, Master Lock, Samsung, and Johnson & Johnson.

The employees who convened to hear Pink had read ''A Whole New Mind" (published in late March) and had copies before them. They were mostly in their 20s and 30s, all casually attired, none more so than vice president of program development Ed Milano, who wore shorts and sneakers. As Pink spoke, Milano and several others opened small containers of clay that rested on the crescent-shaped conference table and began kneading the clay into the shape of sword-wielding figures or intricate buildings. From the way they described the creative challenges they face on the job, they seemed to love their work; from the way they stretched and molded the clay, they clearly felt the itch to design something. After a while, Pink also picked up a chunk of clay and began kneading it as he talked.

None of this detracted from the liveliness of the 100-minute conversation, which ranged across themes large (the search for meaning in an era of unbridled prosperity; the worldview of workers in agrarian or industrial economies compared to those in a post-industrial era) and small (how toasters and toilet brushes benefit from a design aesthetic; whether all those people ostentatiously toting yoga mats around are actually doing any yoga).

During a tour of the firm before his talk, Pink displayed the eager attention to every detail of an author seeing the ideas of his book in action. Bicycles hung from the ceiling in one room, slickly designed cellphones lined a shelf in another, and a large speaker that looked like a piece of furniture stood in a third room. At the sight of a printer that creates three-dimensional objects from drawings, Pink muttered: ''Just amazing. It so accelerates the cycle time of any product development." He shot constant questions at Milano -- ''Are you doing a lot of rapid prototyping?" -- and seemed intrigued when he entered a room where an employee was working on a newfangled, dome-shaped umbrella dubbed the ''nubrella." Pink suggested to Milano that the firm consider making a two-person version, asserting that the umbrella field is ripe for innovation.

Later, during the session in the conference room, Pink elaborated on his use of the left brain/right brain hemispheres as a metaphor for the emerging economy he foresees. In his book, he describes design as ''an essential aptitude" of the Conceptual Age, so perhaps it was no surprise he seemed to be on the same wavelength as the employees of Design Continuum (one of whom he features in his book). However, several spoke in less-than-enthusiastic terms about the cover design of Pink's book; Sean Brennan, an envisioner, informed the author: ''I judge all books by their covers." Pink solicited their ideas for the paperback version.

The author listened as much as he talked. One designer argued that ''there have always been opportunities for right-brained thinkers to change the world," citing Gutenberg as an example. Milano told Pink that there is a left-brain ''rigor" to the work of Design Continuum, creative though it may be. ''You're arguing with yourself," Milano told the author, to which Pink joked in reply: ''No I'm not. Yes I am." Others argued that a synthesis of left-brain and right-brain qualities is the ideal, a point Pink readily conceded. Another employee freely scribbled elaborations of Pink's thesis on the whiteboard, writing ''Value being a good provider" over one arrow and ''Value being a whole person" over the other. When senior industrial designer Roy Thompson talked of attending a wedding recently where the guests included lawyers and accountants who seemed to hate their jobs, and speculated it is because ''they're not using their right brain, which is what makes them human," Pink replied simply: ''Amen."

By the end of the session, Pink had exchanged a lot of ideas with a roomful of bright people -- and, not so incidentally, fashioned a little baseball glove out of clay. Senior design strategist Rajesh Bilimoria promptly demanded: ''Right-handed or left-handed?" It was left-handed.

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26-05-2005
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http://www.icon-magazine.co.uk/issues/022/ceramics.htm

^ an amazing online magazine..everything related to design

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26-05-2005
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There is some really nice ceramic objects in this site, if you can put up with the format.

http://www.asa-selection.com


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03-06-2005
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I just bought one of these,



Its a collapsible funnel, and it folds up flat for storage. I saw it first in metropolis, it won some award. Very id. I cant seem to find a picture of it folded up, but it does, I promise.

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05-06-2005
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great thread. i see a recent trend in i.d., what tobias wong calls conceptual design, a combination of conceptual art (cerebral stimulation) and design (function), using allusive motifs and downright subversion. you can see this in a lot of the works in the recent milan design fair, where works are moving away from the absolute minimalist lines / blobjects of the 90s, towards something more playful, more thoughtful, and with a more ambiguous relationship towards materialism.

travolta -- you mentioned you believe surface magazine has gone downhill lately. why do you think so?


Last edited by mintcar; 05-06-2005 at 04:12 AM. Reason: typo
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05-06-2005
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hi mintcar. you should check out this thread in regards to the new 'arts and crafts' phenomenon you are speaking of http://www.thefashionspot.com/forums...ad.php?t=27040

i am always interested in looking at a particular trend affecting a field of art/ design and seeing if it holds up on a broader scope. i have been interrogating my music savvy friends about the trend of folk, and underground 'raw and real, uncontrived' music , and to a degree this holds up in music as well as design. but, as i was saying in the thread i referrred you to, it has more to do conglomerates/ corporations homogenizing music/ design , this 'folk' trend is a reaction to this , as well as the eventual annoyance to the super minimal, blob candy shapes of the 90s.

i really liked the first issues of surface. the turning point was when it relocated? to new york (issue no. 34) and the new-editors-in-chief set out to redesign the magazine. i guess i'm not talking so much about the content, but about the layout of the magazine, the artistic decisions, which was a huge part of what made surface stand out. recently, i have been looking back on my past issues, as well as a couple of the ones that came out immediately after the redesign, and i can see where they were trying to go, but i don't think it succeeds. i feel as if the type is treated in a arbitary manner, and most of the photographs have the same tone, and in the end this creates a dull, contrived looking magazine. i have only skimmed through the most recent issues of surface, so i'm not sure how they have evolved. if you can get your hands on any of the early issues, let me know what you think.

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Last edited by travolta; 05-06-2005 at 07:19 PM.
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06-06-2005
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this is the homepage for the international contemporary furniture fair

http://www.icff.com/pages/pressimage...ldID=46&Nid=36

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06-06-2005
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thanks for the link, travolta. i only ask your opinion about surface magazine bc i used to work there.


it does still have half of its editorial staff in SF, and yes, there was a sudden layout makeover. i'm not sure if that was entirely bc of the new branch office in brooklyn. (however ... they are consolidating their offices to NY quite soon).

nonetheless, i think surface is still an independent magazine--that is, it's owned by the original publishers who started it as a zine--even though it's somewhat slower to pick up on very new trends and has become somewhat elitist, it still has a little anti-establishment streak. missing the polish, but still around!

anyway, i agree with your assessment of music and design trends. i think there's cynicism towards wealth and blatant displays of it all around, especially amongst the young, who are frustrated with our government's policies and realize the emptiness of decadence at an early age. for me, being in SF and berkeley magnifies this feeling quite a bit. it can be very depressing!

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06-06-2005
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Quote:
Originally Posted by travolta
hi mintcar. you should check out this thread in regards to the new 'arts and crafts' phenomenon you are speaking of http://www.thefashionspot.com/forums...ad.php?t=27040

i am always interested in looking at a particular trend affecting a field of art/ design and seeing if it holds up on a broader scope. i have been interrogating my music savvy friends about the trend of folk, and underground 'raw and real, uncontrived' music , and to a degree this holds up in music as well as design. but, as i was saying in the thread i referrred you to, it has more to do conglomerates/ corporations homogenizing music/ design , this 'folk' trend is a reaction to this , as well as the eventual annoyance to the super minimal, blob candy shapes of the 90s.

i really liked the first issues of surface. the turning point was when it relocated? to new york (issue no. 34) and the new-editors-in-chief set out to redesign the magazine. i guess i'm not talking so much about the content, but about the layout of the magazine, the artistic decisions, which was a huge part of what made surface stand out. recently, i have been looking back on my past issues, as well as a couple of the ones that came out immediately after the redesign, and i can see where they were trying to go, but i don't think it succeeds. i feel as if the type is treated in a arbitary manner, and most of the photographs have the same tone, and in the end this creates a dull, contrived looking magazine. i have only skimmed through the most recent issues of surface, so i'm not sure how they have evolved. if you can get your hands on any of the early issues, let me know what you think.
completely agree. i also think surface used to go more in depth about fashion, which they don't do anymore. it was the only mag. i've subscribed to for more than one year, but it no longer warrants a subscription. i will still flip through it in the store, but i haven't had a desire to buy an issue in a while - it's becoming a US version of wallpaper. it still is one of the best US magz, regardles...

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06-06-2005
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mintcar, when did you used to work at surface magazine? i remember i desperately wanted to get an internship, or at least i thought so, i probably should have attempted it ... :p

i feel as if surface was over reaching, they seemed to want to assimilate everything in one 'bold', straighforward manner, but it instead it became very catalogue, a surprisingly backwards move. anyways, enough bashing surface...

as far as this cynicism, i see this generation of 20 somethings having the skepticism of the 70's and the optimism and ambition of the 80's. a media savvy generation that is very difficult to market to, and that is why it will be interesting to see generation Y's contributions to the design field/ beyond...

faust, i prefer wallpaper to surface because in my opinion, it contains some of the best art direction around, completely worthy of a subscription.

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