Projection mapping has been around for a while, and is now popping up all over the shop (remember the celebration of last years' Tour de France projected onto the Arc du Triomphe as Mr Froome looked on).
I really enjoyed the way this beautiful bit of video, a collaboration between the Creators Project and Bot & Dolly, has been put together. Couple of simple moving surfaces, couple of great big robotic arms, and some very nicely considered executions. Good form all round.
Hiut began making their jeans in Cardigan, Wales, a few years ago, in the process revitalising both the town and it's traditional industry (until recently, 10% of Cardigan's population were employed in the jean-making industry). Currently, Hiut's small team makes only 100 pairs each week, an output they seem in no hurry to expand upon (as founder Dave Hieatt says 'Our job is to make the best jeans we can, not the most jeans we can').
The thing I like most about Hiut is that we share a mantra — Do One Thing Well. It seems like a fairly modest mantra, but one which more businessfolk would do well to adopt, I think.
Hiut have produced a Yearbook the past couple of years — I missed the first, but the second arrived the other day. It smells grand, is very nicely put together, and is stuffed full of other mantra-sharers who collectively prove it's validity. You can buy it on the Hiut site.
The news that Kanye West is collaborating with our very own Peter Saville has already been widely circulated this week. They'll be working on a new visual identity for Mr West, exploring, as Saville explains "What does 'Kanye' and 'Kanye West' look like written down?"
Anyway — I looked back through Dezeen's archive and noticed by and by that Mr West has recently commissioned minimalist architect Claudio Silvestrin to design his Manhattan home, and subsequently furnished it with commissioned pieces by the Campana Brothers, Yves Behar and Maarten Baas.
Mr West is editing and curating his own life to increasingly refined degrees in a way which most of us I think would approve — a post-millennial Patron of the Arts in the classic sense.
Moment of genius here from Arnau Estudi d'Arquitectura. A concrete cube, everyone's favourite starting point, is simply and confidently 'bitten' at fours corners. The cube is still there, but now half of the space is transitional, creating access points, terraces, balconies, and giving us a glimpse of the softer, more human interior.
There's a very poetic peach analogy in it's Architizer feature, but I'm not going there. Suffice to say I couldn't ever see myself tiring of this.
Phonebloks, by Dave Hakkens, is one of those products that comes along once in a while, prompting a universal 'why has nobody thought of this before' response. The answer is, of course, that this has most likely been thought of several times before, but has had cold water chucked over it at the 'how much is it worth' stage.
Assuming it's possible, which it probably is, it's greatest achievement is that it elegantly solves a given problem or two, and then stops. Perfect. Besides which, it's like grown up nerdy electrified Lego. Perfecter.
My other favourite thing about it is that it's asking our permission to exist via Thunderclap. Good form all round.
The cover of Bowie's 'The Next Day', his first album for a decade, received almost almost as much commentary as the music itself on it's recent release.
Jonathan Barnbrook, who also designed the cover art for 'Heathen' and 'Reality', took the Heroes cover, crossed out the title, and plonked a great big white square over Bowie's face. This mechanical and detached treatment is...
Actually, Barnbrook has taken all the fun out of it by explaining, in detail, the reasoning and process behind the cover art. You might as well go and read about it there. Bloody killjoy.
Goliath of Gath is, apparently, not that into fighting. Told from the perspective of a reluctant biblical behemoth, Tom Gauld's graphic novel 'Goliath' is available now, beautifully presented in hardback by Drawn & Quarterly.
Paula Scher's team at Pentagram NYC have just published the identity for the launch of Microsoft's latest incarnation of the Windows OS. Removing any possible interpretation of the logo as a flag rather than a window, and realising that all previous versions of the logo have been employed as a shop window (sorry) for its graphic capabilities (hardly necessary these days), Scher and her team have taken the identity right back to the quick.
The simple, geometric shapes and single-point perspective exude the confidence you'd expect from Pentagram — a deliberately neutral execution, justified in the write-up by Scher, who says "The perspective analogy is apt because the whole point of Microsoft products is that they are tools for someone to achieve their goals from their own perspective. The window here is a neutral tool for a user to achieve whatever they can, based on their own initiative."