1. DeathSwitch →

    via @serota “You can sell just about anything…”

  2. If you can design one thing, you can design everything.

    — Massimo Vignelli (via theamphibian)

  3. Muir Woods, overwhelmed by it all 

  4. San Fran Bay

    San Fran Bay

  5. Don’t worry about other people stealing your ideas. If your ideas are any good, you’ll have to ram them down people’s throats.


    IBM engineer Howard Aiken

  6. Reason has so many shapes we don’t know what to seize hold of; experience has just as many. What we infer from the similarity of events is uncertain, because they are always dissimilar: there is no quality so universal here as difference.

    — Michel de Montaigne

  7. How Learning should be

    "Benjamin Constant was aged four when his tutor suggested that they invent a language. They went around the estate, naming everything, and working out a grammar, and they even invented special signs to describe the sounds. Ben was aged six before he discovered that he’d learned Greek.

    We were warned that Alegebra was going to be really difficult, whereas Einstein was told that it was a hunt for a creature known as ‘X’ and that when you caught it, it had to tell you it’s name. K.J.

    Make learning a beloved activity…- Laszlo Polgar”

    - An excerpt from the introduction to Impro for Storytellers by Keith Johnstone

  8. Why Clients Don’t See the Value of Design

    In her book Computers as Theatre, Brenda Laurel relates the six qualitative structural elements of drama in Aristotle’s Poetics to Human Computer Interaction. In theater, the fundamental material cause of a play, “the stuff a play is made up of – the sounds and sights of the actors as they move about on the stage,” or enactment, is the totality of all that the audience experiences. However, enactment encompasses much more than just words or a set, but the “skills, tools, and techniques of the playwright, actors, and other artists” toward the audience’s emotional reaction. Design faces the challenge of being perceived through only the enactment or sensory information presented to a user. Client’s frequently, and mistakenly, judge an entire design solely based on the value of one element, for instance the graphic design of a website. Client’s fail to perceive the work, time, skill, and experience that make up the whole, or formal cause, of good design. Because most of what clients see is the enactment, the graphical design or the cool visual effect, they fail to value the process required to achieve the overall experience.

    Design shares the same paradox of theater. After a good play, the audience should feel an emotional reaction and not have particularly noticed the individual pieces that prompted their reaction, the set, the timing, the skills of the actor, the lighting, or the direction. Indeed, the goal of good theater is for an audience to forget everything that makes up the play’s material causes and be left with only the formal cause, the original intention and thread running through all of the play’s elements. Hopefully, the play is an enjoyable, delightful experience as well. Similarly, design at its best should go unnoticed, and be merely a delightful experience for the user. The conundrum lies in helping a client understand the value of the whole process. Just like any high school student can act in a play, a lot of people can build websites. The question to a client is, “Do you want to have a school play or an off-Broadway?” The lesson for designers is, if clients pay for a high school play, give them a high school play.


  9. Service Design for a Walgreen’s Christmas

    Service Design for a Walgreen’s Christmas

  10. if it doesn’t come bursting out of you
    in spite of everything,
    don’t do it.
    unless it comes unasked out of your
    heart and your mind and your mouth
    and your gut,
    don’t do it.

    —  blog post on writing