One of the must-see things to do when you are in Dublin is visiting the Guinness Museum. It was one of the best museum experiences I have ever done. Unlike most traditional museums which present a collection of artifacts, the Storehouse takes you through the brewing process of how this famous beer is made. The layout, the graphic design, the sensory elements, the overall presentation etc. really make this museum exemplary in terms of cohesive and immersive storytelling.
Published by Make: in 2005, the Makers Bill of Rights articulates a list of 17 commandments that manufacturers should follow to make their products repairable and hackable. This manifesto is for those who want the freedom to tinker with, remake, repair, recombine, and upgrade the things they own. By advocating for an open, and resilient product system means disrupting the current model, creating a new context for a more evolutionary, collaborative, and dynamic product system that will help us better fit into earth’s ecosystems.
Tonight, RGD hosted Future By Design, a free live screening and interactive discussion of ‘The Future Designer’, hosted by George Brown College. The design industry is constantly shifting to leverage advances in technology, accommodate demographic & ethnographic trends and adopt new and innovative ways of thinking. As new opportunities for creative work emerge, what skills will be required and how do we ensure future generations of designers have the skills necessary to maintain relevance for our industry? Join a discussion of the changing roles, opportunities and challenges facing the future designer.
This poster/print series by graphic designer Christopher Dina celebrates the wondrous varieties of fruit, their unique forms and myriad of colours. The collection features gallery quality Giclée print on natural white, matte, ultra smooth, 100% cotton rag, acid and lignin free archival paper using Epson K3 archival inks. Custom trimmed with 1″ border for framing.
Iconic architecture illustrated by Andre Chiote
Between 1967 and 1977, architect Bernard Tshumi, FAIA, unveiled his Advertisements for Architecture. These postcard-sized manifestos paired words with images—using classic advertising tactics—to “confront the dissociation between the immediacy of spatial experience and the analytical definition of theoretical concepts,” according to the architect.
The task was to use the line chart to express an area of interest which ranged in analysis.
The pieces exhibit forms taken from a house that consists of layered triangular and rectangular shapes, providing an illusion of depth and motion to the meal.
The work on display spans across all genres and looks into new approaches in graphic illustrations to date.