Makelangelo, Dan Royer’s drawing art robot, uses a pen to draw lines, and in that instance circles to complete this artwork of Audrey Hepburn. By moving along a belt, the robot uses gravity to draw on vertical surfaces. The belt can be extended up to 80 feet! Imagine the possibilities for a dynamic art installation that could transform an entire building facade into a giant canvas! to be continued.

MakelangeloDan Royer’s drawing art robot, uses a pen to draw lines, and in that instance circles to complete this artwork of Audrey Hepburn. By moving along a belt, the robot uses gravity to draw on vertical surfaces. The belt can be extended up to 80 feet! Imagine the possibilities for a dynamic art installation that could transform an entire building facade into a giant canvas! to be continued.

Resistance, by Ryan Buyssens, is a mechatronic sculpture that emulates the articulated flapping of a bird’s wings. Crafted from 3D printed, CNC machined and laser-cut parts.

Resistance, by Ryan Buyssens, is a mechatronic sculpture that emulates the articulated flapping of a bird’s wings. Crafted from 3D printed, CNC machined and laser-cut parts.

A couple of weeks ago, the World Maker Faire 2014 took place on the site of the 1964-65 World’s Fair in the Flushing Meadows Corona Park in Queens, New York.

There was an impression of déjà vu, back in the garage of some startup in the 80’s, as most of the technology out there was experimental and in development. And that was exactly the point:

Technology is seamlessly incorporated in so many aspects of our everyday life, from iPhones to toasters, that we tend to forget about it, or simply put, accept it as it is. What is inside the black box and how it functions remains mysterious and almost magical for the majority of us. The maker movement is a clear attempt at demystifying and democratizing this technology!

Bridging the gap between the invisible/virtual and the physical, and at the same time empowering people with tools to express their individual creativity is no marginal achievement. Schools are already incorporating robotics in their general curriculum, and one day we might very well find ourselves transitioning from the informational age to… the maker age.

New York City Transit Authority Graphics Standards Manual, designed by Unimark International, New York 1970.
A site dedicated to serve as an archival record of a first edition NYCTA Graphics Standards Manual. In 2012—42 years after the Standards Manual was released—a rare copy was discovered in the basement of design firm Pentagram.

In 1967 the New York City Transit Authority hired Massimo Vignelli and Bob Noorda of the design firm Unimark International to design a signage and wayfinding system that would solve the problem underground.
The work they delivered was the 1970 New York City Transit Authority Graphic Standards Manual. Perhaps unintentionally, the Standards Manual became one of the world’s classic examples of modern design.

New York City Transit Authority Graphics Standards Manualdesigned by Unimark International, New York 1970.

A site dedicated to serve as an archival record of a first edition NYCTA Graphics Standards Manual. In 2012—42 years after the Standards Manual was released—a rare copy was discovered in the basement of design firm Pentagram.

In 1967 the New York City Transit Authority hired Massimo Vignelli and Bob Noorda of the design firm Unimark International to design a signage and wayfinding system that would solve the problem underground.

The work they delivered was the 1970 New York City Transit Authority Graphic Standards Manual. Perhaps unintentionally, the Standards Manual became one of the world’s classic examples of modern design.

Olafur Eliasson, Colour experiment no. 60, 2013. Turner colour experiments, Tate Britain, 26 Aug 2014 - 25 Jan 2015.

Olafur Eliasson, Colour experiment no. 60, 2013. Turner colour experiments, Tate Britain, 26 Aug 2014 - 25 Jan 2015.

TateShots: Olafur Eliasson: Turner color experiments, Tate Britain, 26 Aug 2014 - 25 Jan 2015.

"I’ve been particularly focused on the works in which Turner radicalized his idea of ephemera, where it became abstract to the extend of you really have to work should you want to create a narrative.

This idea of you’ve been put to work, to look for something, after a while you realize that in fact you are looking for yourself, trying to make sense.

We are surrounded by things today which sort of take that away from us, that we have to work to make sense… we are more like consuming things that have already been predigested, or somehow made to work for you.”

100 colors + white, concept and design Emmanuelle Moureaux, Tokyo, September 2013. 

This exhibition is the launch of the ‘100 colors’ series, which emmanuelle plans to expand in different cities around the world.

Japanese paper manufacturer, Takeo Co. Ltd.
Paper manufacturer for Europe and USA , Procédés Chénel International (class A fire rated paper for ceiling applications).
Photos : Daisuke Shima / Nacasa & Partners.

The Fourth Wall

Considering the fourth wall in the user experience:

The fourth wall is the imaginary “wall” at the front of the stage in a traditional three-walled box set in a proscenium theater, through which the audience sees the action in the world of the play. 

The idea of the fourth wall was made explicit by philosopher and critic Denis Diderot and spread in 19th-century theater with the advent of theatrical realism, which extended the idea to the imaginary boundary between any fictional work and its audience.

The term “fifth wall” is often used by analogy with the “fourth wall” for a metaphorical barrier in engagement with a medium. It has been used as an extension of the fourth wall concept to refer to the “invisible wall between critics or readers and theater practitioners.” This conception led to a series of workshops at the Globe Theater in 2004 designed to help break the fifth wall. The term has also been used to refer to “that semi-porous membrane that stands between individual audience members during a shared experience.” In media, the television set has been described metaphorically as a fifth wall because of how it allows a person to see beyond the traditional four walls of a room.

Society of Experiential Graphic Design:A multidisciplinary community creating experiences that connect people to place.

Society of Experiential Graphic Design:
A multidisciplinary community creating experiences that connect people to place.

James Lee Byars, Untitled, 1959. Ink on Japanese paper on scroll. On view June 15–September 7, 2014, MoMA PS1.

James Lee Byars, Untitled, 1959. Ink on Japanese paper on scroll. On view June 15–September 7, 2014, MoMA PS1.

National Center for Civil and Human Rights opened on June 23, 2014, in Pemberton Place Plaza, 100 Ivan Allen Jr. Boulevard, Atlanta.


Read more:

Edward Rothstein, “The Harmony of Liberty: National Center for Civil and Human Rights Opens in Atlanta,” New York Times, June 22, 2014.

Catherine Fox, “National Center for Civil and Human Rights trusts in the power of design to tell its stories, inspire visitors”, ArtsATL.com, June 23, 2014.

Chuck Reece, “The National Center for Civil and Human Rights,” The Bitter Southerner, June 2014.

Sandra Nuut: The Future of Fashion Museum, May 2, 2014. From the Lingua Franca 2014 D-Crit Conference at SVA MA Design Research, Writing & Criticism.

Fujiko Nakaya: Veil, 2014, fog installation. The Glass House, Philip Johnson, 1949, New Canaan, Connecticut.

As part of a fundraising campaign, two can spend the night at the Glass House and have ten of their favorite guests share a farm-to-table dinner for the tidy sum of $30,000.

Disney vs. Museological & Cultural Exhibitions

In the age of mass consumption where exhibitions are viewed as part of the entertainment offering, more and more designers and museums call for immersive experiences to create greater sense of wonder and to attract wider audiences.

Optimally, an exhibition resembles a total immersion. What could be more exciting than being completely absorbed mentally, shutting out everyday life and experience a whole new world through the exhibition? […] Walt Disney was a masterly creator of immersive environments. The Disneyworld attractions are in fact 3D film projections with completely fixed routings and sequences of scenes, and nothing has been left to chance or to individual imagination. The Disney imagineers control it all: the route and often even the means of transport that guide the visitor through the experience. However, the impact of these experiences is short lived, notwithstanding their obvious quality and professionalism. They fail to shed light on anything new, nor do they invite reflection. For Disney, the event and its immediate experience are paramount. Regarding museological or cultural exhibitions, this addresses the need for finding substantial after effects.

Herman Kossman, Narrative Spaces: On the Art of Exhibiting, p.86.

Related blog: immersion that leaves room for individual imagination.