Nicholas Alan Cope photography

A relationship between light and space. And that’s it.

Via cope1

One size fits all

all the office stationery can be printed on a piece of paper without wasting paper.
And probably this is a white space that we should reduce instead of increasing.

maybe this is the positivity in reducing white space.

Via Behance

Radical Architecture In Your Palm

These days, architecture is often either left unbuilt (or it takes place within the shell of an older building). Despite our questioning of the QR Code facade yesterday, it’s evidence that the Dutch seem to have an almost preternatural understanding of how to use technology to engage the public in architecture.

the stamps are paired with an Augmented Reality App called UAR (Urban Augmented Reality) that lets you place this and other unbuilt structures in meatspace by holding your iPhone up to the site.

amazing use of technology!

via Architeizer

Tereszkiewicz’s portfolio

via Tereszkiewicz

Power of white in graphic design

Poets have written of cloth “white as the driven snow” (Shakespeare), “Dusk faces with white silken turbans wreath’d” (Milton), sea spray like “wild white horses” (Arnold), the moon as an “orbed maiden, with white fire laden” (Shelley). Tennyson’s Arthurian heroes rejoice that “the world is white with May.” As a colour, white is a metaphor for many emotions and for concepts ranging from purity to death…providing cool white space, making an emphatic statement.

“… in graphic design, white is too often thought of as something to cover up or get rid of, not something to explore and celebrate.”

Gail Deibler Finke
Cincinnati,
April 2000

White “space”

What is not,
helps us define what is.

What is not,
soon becomes what is.

The what is,
is what was note.

What was left out,
is just as important
as what is put in.

White space
is as real as what fills it.

All acts of creation start with a blank canvas (whitespace)…
use it wisely.

From book: White Graphics: The Power of White in Graphic Design by Gail Deibler Finke
Book on amazon

Problem with Close-Talking? Blame the Brain

Why is it so uncomfortable to stand really close to a stranger? Sure, there are the potentially icky things. Sometimes an elevator car is so crowded that you can smell a fellow rider’s shampoo or chewing gum (or worse). But even when a stranger is perfectly groomed, it’s usually a bit revolting to be pressed against him in public. Why?

Evolution seems to have programmed this discomfort via a brain structure called the amygdalae, a pair of almond-shaped brain regions deep within each temporal lobe that control fear and the processing of emotion. It’s your amygdalae that keep you from getting so close to another person that he could easily reach out, gouge an eye, and then drag your woman off by her hair.

Read more at Times health

Waiting room

2011
An installation at St Philips Building, Sheffield st, London, WC2A 2EX
An exhibition to mark the life of the St Philips Building was quickly organised before its imminent demolition. Dominic Wilcox was one of those asked to create something in the buliding that would reference the buildings history in some way. The St Philips building started in 1903 as a workhouse Infirmary for the poor before going on to be a hospital for women and then bought by the London School of Economics.

On visiting St Philips Dominic found the last remaining office, left abandonded and intact.

“I thought that it was as if the room was waiting to die and I wanted to ease its transition from this world. My thought for the office was to leave it intact but to remove the colour from every aspect in the room (via white paint) thereby taking away a layer of reality and connection to our world as it moves closer to its imminent death.” Dominic Wilcox

via Dominic Wilcox

Waiting Room from Dominic Wilcox on Vimeo.

—————————————–
I thought the use of white to signify impending doom leaves a very deep impression in people’s mind.
This treatment of physical, visually seen (directly) “whitespace”, I perceive as something portraying reality instead

It is that kind of uncertainty, recalling what exactly the colour of the object is..as if recalling someone close to you leaving, having flashbacks memories on the interaction between you and the person that passed away. almost colourless, fading away. It is the non-existence of the person in future that makes one person ache.

It is the memories and connections we have with the person/object that make us ache.

Van Alen Bookstore

The very existence of Van Alen Books makes a powerful argument about the role of the book in our professional culture. The consensus opinion regarding architectural publishing seems to be that the era of the architectural “tome” is over. But the argument that we don’t “need” bookstores anymore, since we buy books less, ignores the implicit social currency that these spaces deal in. Opening Van Alen Books could be seen as as huge risk, but on the other hand, the store addresses the dearth of public meeting and forum spaces in the city.

A look at the LOT-EK designed space proves that subtextual point: where are the books? Does it matter?

via Architizer

Mikito Ozeki

without a physical sketch. Its all mind to hand.
impressive skills

Mikito Ozeki / Cut Out from mikitoozeki on Vimeo.

via Mikito

Other than lots of practice, he is one that can see negative space very well to sketch out the positive image.

The 50 Things Every Graphic Design Student Should Know

Everything that I came across these days seem to always fit in to what I am facing during crunch time.

An interesting post with cute visuals describing 50 messages. It is not easy to come up with theory like that. And it is even harder to work out visuals that enhances the content…
Here are my top 5 likes out of the 50. I think they just fit in to my current state of despair and stress from crunch time.

10. Listen to your instincts.
If your work doesn’t excite you, then it won’t excite anyone else. It’s hard to fake passion for mediocre work – scrap it. #the50

32. There’s no such thing as a bad job.
Always push yourself to do your best. Logically, there’s no way you can be dissatisfied with ‘having done your best’. #the50

38. Do not underestimate self-initiated work.
Clients get in touch because of self-initiated work. Ironically, business is excited by ideas untouched by the concerns of business. #the50

44. If you’re going to fail, fail well.
Being ambitious means you have to take on things you think you can’t do. Failures are unfortunate, but they are sometimes necessary. #the50

50. Don’t take yourself too seriously.
Take your work seriously, take the business of your craft seriously, but don’t take yourself seriously. People who do are laughed at. #the50

See all of them here