Tag Archives: design

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Stylus and sketch: interaction for design

An ongoing trend in design tools and techniques lies in finding ways to make CAD more intuitive by using pen-based interfaces, from Physorg:

Because thinking about a new product shape by sketching is more expressive and more intuitive for engineers than the traditional mouse-and-menu-based design interfaces, the new system gives users more freedom to be creative and a shorter learning curve for use.

By providing greater freedom in conceptual design phases and alleviating costly redesign issues, the new technology will have an immediate impact on a multitude of industries, Carnegie Mellon researchers said.

This sounds similar to the ILoveSketch software tool, demonstrated in this video:

[ILoveSketch from Seok-Hyung Bae on Vimeo][via Bruce Sterling]

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Swedish data bunker can withstand nukes in style

Charles Stross points to this fun datacentre in Sweden:

This underground data center has greenhouses, waterfalls, German submarine engines, simulated daylight and can withstand a hit from a hydrogen bomb. It looks like the secret HQ of a James Bond villain.

And it is real. It is a newly opened high-security data center run by one of Sweden’s largest ISPs, located in an old nuclear bunker deep below the bedrock of Stockholm city, sealed off from the world by entrance doors 40 cm thick (almost 16 inches).

Also Strosscommenters point to another Dr. Strangelove-referencing movie-design essay on the design of supervillain’s lairs: Who Stole My Volcano? Or: How I Learned to Stop Worrying and Love the Dematerialisation of Supervillain Architecture.

[via Charles Stross, via Magical Nihilism][image from the article on Royal Pingdom]

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Art attack: visual themes in movie SF

Ken MacLeod points to a visually arresting web-essay called Star Wars: A New Heap, or, How I Stopped Worrying and Learned to Love the Death Star that highlights connections between architecture, design, movie SF and art:

Lucas envisioned a World of Tomorrow dominated by black, white, and gray; hard-edged, massive, and inorganic forms, covered with a salty acne of apparatus.

The film’s visual program was a departure from the saucers and occasional capsules writ large that sci-fi audiences had grown accustomed to, but its colorless symmetrical ships should have been recognizable to at least a small portion of its audience—those familiar with contemporary art.

…

Lucas hired so many members of Kubrick’s team that their subset of the Star Wars crew was dubbed “The Class of 2001.” But he borrowed selectively. Kubrick’s 2001 environments were cohesive and balanced, informed by architectural theory and late-’60s aesthetics; they upheld the distinction between the astronaut modernists and the alien minimalists.

By contrast, Lucas willfully mashed together minimalism, modernism, and NASA design. Two visual rhetorics are at war on-screen: The first is that of an industrial superpower; the second is that of a rogue fringe of misfits and mismatches.

[via Ken Macleod][image from Phil Romans on flickr]