Glass Houses

A pretty good Billy Joel album, and a simply great day of design thinking I experienced just the other week at the Philip Johnson Glass House.  I was fortunate to take part in a Glass House Conversation hosted by John Maeda on the subject of Simplicity.  Keen readers of metacool will no doubt recall that Professor Maeda's book The Laws of Simplicity is one of my all-time favorites (be sure to watch his brilliant TED talk here).  His thinking has had an enormous influence on my work.

Each of the attendees were asked to be the guru for one of the ten laws of simplicity.  I chose the 5th law, Differences, which states that simplicity and complexity need each other.  I spend a lot of my time designing and implementing organizational systems which enable people to do things they otherwise couldn't.  I find time and time again that solutions that aspire only to simplicity tend toward the simplistic, and those that embrace only complexity veer off toward a morass of complexity.  Balancing the two, and figuring out where to place the complexity so that it creates value, and how to position the simplicity to extract that value, is the art.  Here's the illustrative example I brought with me to the Glass House, a snapshot of the dashboard from a Toyota Prius (you were expecting something other than a car from me?):

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The cockpit of the Prius is one of the simplest on the market.  A digital readout replaces traditional gauges, buttons are few in number and highly considered in placement, and even the gearshift is just about going foward or backward or not.  And yet the Prius is arguably the most complex car you can buy.  Its gas-sipping nature stems from having not one but two motors, connected to the driving wheels by a fiendishly clever transmission orchestrated by a suite of chips of immense processing power.  All of that complexity without a mediating layer wouldn't be the car that non-car people love to own and operate.  The Prius is a great example of the 5th law.

I saw the law of Differences in action at the Glass House.  Having only ever seen the Glass House in history books, I didn't have a feel for the complexity of the campus on which it stands.  Over time, Philip Johnson built a family of structures which work together in quite interesting ways.  For example, did you know that the Glass House has a sister structure in the Brick House?  Here's a view of the two of them:

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All of the mechanical needs of the Glass House are met by the Brick House.  An underground umbilical shaft connects the Glass House to a feed of heat from the Brick House.  The Brick House also contains a bedroom for those times when one might like to engage in... er, some more complex acts of human nature than would be appropriate in a public setting.  A Glass House without a Brick House to power and feed it would be untenable.  Even from a purely formal aesthetic sense, the two houses work better together than apart.  Simplicity and complexity need each other.

I really enjoyed the afternoon of conversation on design, business, technology and life.  I've had a fortunate life of exposure to some pretty amazing people and experiences, and this was right up there.  I'd like to show you some photos, not to gloat, but to share some fun stuff from the day in the name of creativity and openness. 

An amazing group of chefs prepared a meal for us in the Glass House.  It centered on themes of simplicty.  Wine was served.

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We sat at table together and talked and ate and watched the weather go from stormy to sunny and back again.  You can't help but be immersed in the weather in this architecture.

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We had assigned seats.  I sat in a white chair and ate more than my fair share of the edible centerpiece, which was quite tasty in its own right.  This is my favorite photo from the day:

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It's in the mail...

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I feel blessed to live with four Eames-authored items in my household.  Especially my book-laden nightstand,  which means a vision of Eames is the last thing I see before shutting my eyes.  That little Eames wire table is the first thing I bought after getting a real job out of college.

Simple pleasures.

Speaking of which, these lovely stamps, to be issued this summer, will be a nice way to send a friend a little kiss of design thinking at its best.

Director's Commentary: Amia Chair

Here's a marvellous Director's Commentary about the Amia chair.  Thomas Overthun, a colleague of mine from IDEO, and Bruce Smith of Steelcase take us through its genesis.

Watch the video, and find out why an integral part of innovating is being willing to cut everything in half.  It's all about strategy that makes your hands bleed: I challenge you to find something in your work life that you should cut in half on the bandsaw, if only metaphorically.

Why not?

TEDding...

I'm blogging a bit from TED this week over at the TEDBlog.  I'm not trying to blog about big stuff said on stage, as there's lots of "small" interesting stuff scattered around the conference.  I just wrote one post, more to come if I can tear myself away from the Google coffee bar.

Unabashed Gearhead Gnarlyness

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The Timbuk2 Steve Sleeve for the MacBook Air

It's Eccentric Clamp Day

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Did you forget? Join all of us at metacool in celebrating February 8 as Eccentric Clamp Day

Tell your friends!  Gearheads of the world, unite!

Matte is the New Black, continued

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It seems I'm not the only one enamored of satin finishes. 

Rob Poltras of I Love Substance has been tracking this trend for the past year.  Check out his portfolio of mattness: Catching Up on Flat Black Hotness

Matte is the New Black

Last weekend, as I tended to my newest market offering's complex fluidic thermodynamic power systems in the wee hours of the morning, I flipped on the tube and watched more than a few laps of the 24 Hours of Daytona.

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A Mazda RX-8 (pictured above) won its class, beating out a gaggle of Porsche 911's for the honor.  In no sense a stock car (see the video at the end of this post for a walkaround this full tube-framed racer), this RX-8 nonetheless points to the future of car design for us civilians: look closely and you'll notice that the paint isn't glossy.  Instead, the luscious carbon fiber panels on this machine are matte black, or satin if you will.  Wax not needed or desired.

We've been raised to believe that gloss is good, that shiny equals quality.  Those days are over.  Hear this now: the cult of the waxed car body is melting, and this RX-8 represents the tipping point.  Sure, beating the 911's at Daytona is a win for the ages, but sporting a matte finish and finishing first -- that's a tipping point.  If manufacturing and repair (how do you buff out a matte finish?) issues can be solved, I think we'll start to see a lot of matte paint jobs rolling around.  And a lot of them will likely be dirt-shedding nano particle finishes.  Even cooler.  We've already see matte paint on show cars from BMW and Lamborghini. 

Matte is the New Black.

Here's a video of the Daytona-winning RX-8 from the driver's seat (oh, the wail of a rotary motor!):

And here's an extra treat in the form of a most gnarly walkaround the car in the presence of race Nick Ham.  Check out the paint (shown to best effect toward the end of the video):

metacool Thought of the Day

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"There is a common belief that all designers are artists.  I am not.  I studied engineering at Stanford and although I took some drawing courses for fun, I am sure that a good many high-school students can top me in free-hand sketching."

- Harley Earl

Director's Commentary: Philippe Starck

My favorite talk from TED2007.  As one might expect, this is a meta level talk, a Director's Commentary about being a director dreaming big things.  A meditation on designing life. 

Here's a transcript of Starck's talk.  Let's just say that this is a very provocative and intriguing twenty minutes.

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