Every seven years, designer Stefan Sagmeister closes his New York studio for a yearlong sabbatical to rejuvenate and refresh their creative outlook. He explains the often overlooked value of time off and shows the innovative projects inspired by his time in Bali.
The thin green line is a conceptual representation of our relationship with nature I have developed since visiting Antarctica. I explain it below:
Scott Base is a wonderful place. More than a mere shelter from the harsh environment of Antarctica, it has a special culture among it’s personnel, both ‘permanent’ and the transient scientists and others like myself and Warren.
Literally you can step from the friendly, pleasant 18° comfort of the base, through an industrial fridge door, into the potentially killer conditions outside.
This tiny separation between civilisation and wilderness, literally a thin green line because Scott Base is painted a fetching green colour (Chelsea Cucumber to be exact), really got me thinking about our broader relationship with nature.
With five stock images and a few hours in photoshop hopefully I have something that represents the dark beauty of Stravinsky’s “The Rite of Spring”
Stravinsky’s avant-garde 1913 ballet score sparked a riot in the theatre on its Paris premiere. This famously controversial work, full of savage force and fiery beauty is summed up in Stravinsky’s own description of his inspiration: “I had a fleeting vision that came to me as a complete surprise … I saw in imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of spring”.
This is one image from the 2015 Season seres for which Insight has been made a finalist for in this years Best Awards.
As part of the Taranaki Wars exhibition at Puke Ariki in New Plymouth Insight Creative (where I was Design Director) were contracted to produce an interactive to document a recent archeological dig in the Taranaki district. It used computer generated models to show what structures were in place at the site. I designed a revolving touchscreen interactive kiosk which faced a large scale photograph of the location as it appears today. As it turns, the screen displays an ‘augmented view’ of the location showing what the hill looked like in the 1840s. The concept was expressed as a ‘window to the past.’
The screen constantly knows where it is facing. Users can also touch the screen to get more detailed information and once again turn the screen to spin the view around the sites. Through on-screen instructions, users could get more detailed information on different locations.
CGI by Raysan Kubaisi, programming by Insight Creative, kiosk construction by Cannibal.
It was one of my last jobs at Insight. The budget was pretty tight so I was forced to create this using a bunch of stock shots but I think it still does the sprit of the ANZACs justice.
I have seen it in a few dodgy crops etc in various media recently (outside the control of Insight/NZSO) so I thought this might be a nice opportunity to show it how it was originally conceived to be used.