The sun never knew how great it was till it struck the side of a building.

Louis Kahn

Joseph Schumpeter argued in 1909 that small companies were more inventive. In 1942 he reversed himself. Big firms have more incentive to invest in new products, he decided, because they can sell them to more people and reap greater rewards more quickly. In a competitive market, inventions are quickly imitated, so a small inventor’s investment often fails to pay off [...]

Politicians should certainly stop demonising big firms and sentimentalising small ones: an economy needs both. But they should not allow their new-found appreciation of big companies to degenerate into a taste for picking national champions. Such firms typically gobble subsidies and crowd out smaller, more creative firms. Nor should they start tolerating monopolies. The key to promoting innovation (and productivity in general) lies in allowing vigorous new companies to grow big, and inefficient old ones to die. On that, Schumpeter never changed his mind.

Schumpeter column, The Economist

Jean Prouvé was once quoted saying: never design anything that cannot be made. Part designer, part architect he always conceived himself primarily as a craftsman, a builder. In Norman Foster‘s own words, in Prouvé’s work “technical imagination is placed at the service of function and economy”.

And that’s infinitely apparent when you understand the thought process behind his first attempts at prefabrication. How to produce furnishings and components that were simple to ship and easy to erect? How to create structures that were both solid and adaptable; temporary and long-lasting? Simple: modular design. His structures tended to be light, flexible, and even mobile, combining traditional building materials with aluminum and steel.

At the time, Mr. Prouvé was revolutionizing the concept of construction so he went back to the basics. He kew that if he was to create a new language, he first needed to devise an alphabet and that’s what he did, he created “L’alphabet des structures”. Because once you devise the basic elements of a system, it doesn’t matter what the future holds; you’ll know what to do, how to react.

Most of the problems we face as designers today aren’t new so it’s always refreshing and inspiring to see how others have tackled them before. And then it’s just a matter of learning, adapting and applying.

If you have a chance, Industrial Beauty (though I like the name in Spanish better, Belleza Fabricada), is an exhibition at Ivory Press Madrid of some of Prouvé’s most significant work, including drawings, sketches and furniture. It will be open until November 12th.

For an overview of some of his work, this Flickr compilation is a good start.

1. Demonstrate from the top that high quality and attention to detail are prioritized and appreciated above everything else, including being the first to market, having the most features, or having the most aggressive prices. If you can get those as well, that’s great, but quality will not be sacrificed to do so.
2. Instill these values in your staff. If you can’t, hire a staff for which you can. Better yet, hire a staff for which you don’t need to.
3. Aggressively pursue simplification, elegance, craftsmanship, and the highest-class user experiences in the product line. Ruthlessly cut or hold features or entire products that aren’t good enough.
4. Make it pretty.

How not to bring good design to a platform?
Skip steps 1–3 above.

Marco Arment

For a bit of Rams eye-candy, you’ll find some good photos of him in the Thomas Mayer Archive. And to help you refresh your memory, in case you don’t know it by heart already: Rams’ good design decalogue.

To me, The Daily is a near perfect realization of exactly the idea that occurs to print editors every single time they get their hands on digital media for the first time, regardless of what the underlying technology might be: “Let’s make it just like what we know so well in print.” As a result I found it sadly lifeless and lacking in urgency. What a waste of US$30 million.

Khoi Vinh on The Daily

I think the human body and buildings have a lot in common. Buildings are as weak as they are heavy, and one tool in our armament is a process known as genchiku, which we can use to decrease the overall weight of a building – you could think of it as a process that gets rid of unwanted flab and beefs up muscle where it’s needed. However, I think that some people don’t consider balance in quite the same way – simply putting more on top doesn’t necessarily make a structure stronger.

Shigeru Aoki at The earthquake from an architect’s perspective

What started as a functional need later became a styling trend. Thousands of objects were designed in aerodynamic shapes even though they were supposed to be still. In this flickr gallery there are a few great examples:

The greatest advocate of streamline as a styling aesthetic were Norman Bel Geddes and Raymond Loewy”>Raymond Loewy who believed that curves were great, especially for making a product more appealing to the public. One of his most famous designs is a pencil sharpener that, although it was supposed to be screwed to a table, its shape was as streamlined as a supersonic rocket:

This quote of the streamline godfather explains everything:

The most beautiful curve is a rising sales graph

Raymond Loewy

Unlike advertising agencies, we are not in the business of selling. We love our work and we love showing off the diversity of work we’ve done (please ask to see our portfolio!) but that’s because every project is crafted with thought and research, and with respect for our clients. We put all our resources into every client that engages us because we don’t need to save our best ideas to sell ourselves to potential new clients.

Supernicestudio.com

We’d like to thank our clients and Riot Cinema for this video.

I don’t want to find out that much more. I want to shoot them the way I see them. As opposed to really creating an essence of who they truly are; it’s my idea of who they are.

The words of a true aesthete.

The structure of a system reflects the structure of the organization that built it.

Richard Fairley

Now check the metro map:

How much information about the city and the country who build it, right? You can tell it has a strong, centralized and authoritarian political power just by looking at how the lines converge at the very center. Their concept of traffic transversality isn’t lines that doesn’t cross the center but a circular line that reinforces this idea.

But is the metro network what shapes that reality or was it there before? Let’s check a regular roadmap of the city:

Very much the same: strongly centralized, everything that needs to go from A to B needs to pass through the center first. Everyone, every matter.

If you check New York or Barcelona, for instance, you’ll se something different. Everything seems more rational and decentralized. Both cities have a strong grid shape reflecting that interactions between people (being social or business) are more important than political power.

The funny thing about this quote is that it was said regarding software and programming, not urbanism. Do you thing it applies to the design of interactive systems as well? Do we end up shaping structures that reflect the organisation behind. Is that good or bad? Are there powerful examples?

In his own words:

The music amplifies the pictures, and the pictures amplify and clarify the music. It’s a way to get a really large amount of information in pictures and music to people in a way that is very intuitive and easy to absorb.

-Chris Hondros

You can read more about it in the NYT’s Lens blog.

Why does Twitter work better for news than Google Reader? Simple, Twitter gives you what’s new now. You don’t have to hunt around to find the newest stuff. And it doesn’t waste your time by telling you how many unread items you have. Who cares. (It’s like asking how many NYT articles you haven’t read. It would be gargantuan. I don’t bother you with the number of Scripting News posts you haven’t read, so why does Google?)

Dave Winer- How to Reboot RSS

Alexandra Deschamps-Sonsino on innovation hubs (and coffee)

Paul Giambarba

(via Minimal)

The iPad is not a big iPhone. The iPhone is a pocket iPad.

Julio Loayza

I write novels. And I work everyday as well as I can. This is a job, not a gift from God. I’m not an artist. I have a moral obligation to myself and to those who read me. I have to focus on that and not going around theorizing on literature, which I don’t give a damn about.

Arturo Pérez Reverte at El Cultural

And the original quote, in Spanish:

Yo escribo novelas. Y trabajo todos los días y lo mejor que puedo. Esto es un trabajo, no un don divino. No soy un artista. Tengo una obligación moral conmigo mismo y con la gente que me lee. Tengo que concentrarme en eso y no ir por ahí teorizando sobre literatura, que me importa un carajo.

Arturo Pérez Reverte en El Cultural

I think of UCD (User-Centered Design) a little as I think of Christianism. The fact I’m an atheist today does not stop me from recognizing that some Christian values have shaped my worldview and my belief system in very positive ways.

César Astudillo

A few months ago I wrote an article expressing my displeasure with American Airlines‘ hideous online presence. I also spent some time mocking up a redesigned version of their website. To my surprise, a user experience designer at AA.com emailed me an amazing response describing some of the design problems faced in large corporations. You should read my original article here and the response from Mr. X here.

An hour after I posted the response, American Airlines fired Mr. X.

Dustin Curtis at The Incompetence of American Airlines & the Fate of Mr. X

(Thanks Bastian)

I don’t think that type should be expressive at all. I can write the word ‘dog’ with any typeface and it doesn’t have to look like a dog. But there are people that [think that] when they write ‘dog’ it should bark.

Creativity needs the support of knowledge to be able to perform at its best.

There are no hierarchies when it comes to quality. Quality is there or is not there, and if is not there we have lost our time.

Any color works if you push it to the extreme.

There is no design without discipline, there is no discipline without intelligence.

We detest the demand of temporary solutions, the waste of energies and capital for the sake of novelty.

I like design to be semantically correct, syntactically consistent, pragmatically understandable.

I like it to be visually powerful, intellectually elegant, and above all timeless.

It’s not important to develop your own style but your own approach.

And finally a couple of videos of him, one explaining his hated/admired NYC Subway map of 1972 and the second one on his appearance on Helvetica (with Spanish subtitles):

In the movie business, screens and interactive elements have a very low priority in the grand scheme of things (with a few notable exceptions).To really sum it up, there are just three considerations.

The first is to do somethign that sits with the look and feel of the environment and set. The nature of the film always dictates. If it is in the future, then the desire is generally to have a different way of interacting or displaying things, than is currently the norm. It is a small way of differentiating the interfaces. The reality is that these systems might already exists, but are not widely used or known about outside of labs or specialist groups.

The second is the worst part. Prior art. Some of the people involved, directors, production designers, producers, bring with them their own biases, pre-conceptions and pragmatism that can result in less than satisfactory interfaces in the films and content on those interfaces. It is not uncommon to hear people day “I want it like it was in that movie” whether a good example or not. People try to play safe at times and it is not always easy to overcome.

The third and most important part is that the interfaces are there for only two things. Set dressing and story. Irrespective of design and plausability, if they tell the story they are deemed a success by those commisioning. CSI might seem implausable in action and stylistically but they do one thing and one thing well. Tell you what happened or what they have found. This can lead overall to interfaces and systems seemingly doing some very unrealistic things, but in the end the story is all that matters.

Mark Coleran

A lot of designers want to increase the line height or padding in order to make the interface “breathe.” We deliberately don’t do that. We want to squeeze in as much information as possible above the fold. We recognize that information density is part of what makes the experience great and efficient. Our goal is to get users in and out really quickly. All our design decisions are based on that strategy.

Irene Au, User Interface Director at Google

Approach B

Yes, it’s true that a team at Google couldn’t decide between two blues, so they’re testing 41 shades between each blue to see which one performs better. I had a recent debate over whether a border should be 3, 4 or 5 pixels wide, and was asked to prove my case. I can’t operate in an environment like that. I’ve grown tired of debating such minuscule design decisions.

Douglas Bowman, Former Head of Visual Design at Google

Which one would you take?

(thanks, Missha)

We like the definition of the game as “free movement on a rigid structure”. The more rules the game has, the funnier it is. These limitations -or explicit rules- encourage the creation of other implicit ones: for instance we now have groups of users setting the topic of the day and postng videos on that topic. That is much funnier and exciting than a user posting all the videos from his favorite band in a single day.

Alberto Romero on designing unvlog.com (Spanish)

SEO is using deodorant instead of washing. SEO is masking bad coffee with sugar. SEO is cramming instead of studying. SEO is using pain killers instead of going to the dentist. SEO is taking weight loss pills instead of exercising. SEO is a comb-over. SEO is Scientology. SEO is Paris Hilton. SEO is the Zune. SEO is the morning-after pill. SEO is astroturf. SEO is not the real thing. SEO is cutting corners. SEO is not the solution. SEO is bullshit.

Ehogan McCabe from Contrast

We can’t wait for the government to do anything that’s up to us.

Michael Braungart

In the end they will not ask you what you have known but what you have done.

Jean de Gerson

Sometimes I see patterns…

Information Architecture: how it’s structured
Interaction Design: how it behaves
Information Design/Visual Design: how it looks

Front end
XHTML – How is structured
JS – How it behaves
CSS – How it looks

Backend
Model – Data and structure
Controller – Behaviour
View – the look, the skin of the system

Restaurant (I don’t know if I’m kidding here…)
Kitchen: data, ingredients, structure…
Waiter: behaviour, orders
Table: presentation, look

From my humble point of view, all of these layers in any of the domains (conceptual, logical, physical) has a lot to do with design. Maybe I live in a special place sorrounded by programmers and developers who act_as_designers ;-)

As a pattern, we’ve got three layers: a fundation, an intermediary which routes actions betwwen surface and fundation and a surface, the part that the user thinks is the system (because, from the user’s perspective, behind the surface there’s magic).

I’m not a philosopher, maybe I’m saying stupid things.

Luis Villa

One of the diseases of this age is the multiplicity of books; they doth so overcharge the world that it is not able to digest the abundance of idle matter that is every day hatched and brought forth into the world.

Barnabe Rich (1580-1617)

Seen at Pasta&Vinegar

ENGLISH TRANSLATION:

There are industrial designers who look at an object and they modify it to improve its features in a specific circumstance. They designed the folding chairs, the anglepoise lamp and the unfolding package for the butter.

There are other designers who look at an object and they modify it with the purpose of worsen its features for any circumstance. They designed the three leg stools, the square-shaped glasses and the sinks with no place for leaving the soap.

My favorite definition/description/whatever goes like this:

Information Architecture: how it’s structured
Interaction Design: how it behaves
Information Design/Visual Design: how it looks

These definitions are not mine and I cannot recall who wrote them first. I’d appreciate any feedback on it. I am also aware that the boudaries between concepts are not clear at all, especially between the last two. They tend to overlap a lot.

(seen on Danilocorci’s flickr)

I know, I know… only stupid jokes recently. I’ll post something serious soon, really.