Inspiring Nobody
Rather than showcase British interactive design talent, the biggest cultural event of our generation has been represented online by an uninspired mess that flies the flag for the status quo.
Rather than showcase British interactive design talent, the biggest cultural event of our generation has been represented online by an uninspired mess that flies the flag for the status quo.
Last weekend I visited the new Olympic velodrome for the UCI Track Cycling World Cup. Part of London Prepares, a programme of test events before the games take place this summer, it was thrilling to see athletes up close as they also prepare for London 2012. The building is absolutely stunning, although Ben Terrett notes a few design oversights that remain.
After two and a half weeks exploring various cities, it was finally on to Melbourne, and the final stop on my short tour of Australasia.
Monday saw the much anticipated reveal of the most significant identity to launch in Britain since that of the Millennium Experience in 1999; the logo for the 2012 London Olympic Games.
For anyone coming to Brasilia for its modernist architecture, no visit would be complete without a stay at this hotel. Designed by Oscar Niemeyer and opened in 1958, it hosted dignitaries such as Queen Elizabeth and Che Guevara before being devastated by fire in 1978. After facing decades of abandonment and neglect, it was modernised and reopened in 2006.
This years SXSW Interactive saw 1,041 sessions presented by 1,648 speakers, growing to such extent that its size now rivals that of the more popular music festival. Yet bigger doesn’t necessarily mean better.
Clearly communicating the fundamental aspects of your design at the different stages of a project can help you better communicate with clients, developers and your peers, ensuring your vision doesn’t get lost in the transformation from static comp to dynamic ever changing website.
Fontdeck. Quality, professional typefaces optimised for the web.