
iPad: DRAFTING CREATIVITY | BRAND CARTOGRAPHY
(iPhoneZenBrush) THE CARTOGRAPHY OF DESIGN THINKING | Part two Doodles, scribbles, mapping and documentation: Brandquesting®, brand navigation and creative brand business applications for the iPad People fire brands -- brands are created by people for people -- and engaging people in the process of understanding brands, building them, expanding their strategies is a foundation for how we work. That principle isn't uncommon -- it's sensible; but it's in the how that can make a difference....
THE MAPPING OF ENERGY, MIND AND MOTION: NAVIGATING BRAND AND LEADERSHIP CHARRETTES
THE CARTOGRAPHY OF DESIGN THINKING | Part one Building the strategies for brand engagement thinking, creative intelligence workshops and tactical layouts for innovation sessions. Working on a project for the planning of a market design program for an emerging brand, the issue will relate to a conceptual positioning, a marketing plan, and the assessment of a structured relationship to consumers, a naming architecture and the creation of a visual identity and collateral / online messaging and...
THE LINK
Stories, myths, legends, tales -- the link to humanity If there's a story about a person, which might be a legacy, a family, a product -- a brand -- who's telling it, and who cares? There are chains, coils, rings that sync and bridge the connections of one to the many. But in the meditations on the work, the practice of creating things that connect people, we're constantly thinking about how those alchemical attachments and those stamped amalgams work. As a designer, in making things that link...
ENERGIZE
Energy, focus, attention, connection -- what is the energy that's set, on the context of driving forward; uncovering the new? That is personal. That's brand. That is human; that's enterprise. "energy is eternal delight" -- it is the captivation of attention and spectacle, because it's sensible, it's felt and the touch of energy brings a charge to action. Energy and interlacement -- the weaving of ideas and humanity; brand and energy -- and the mix in the match how people work in enterprise;...
MEDITATIONS ON PLACE | NYC: SEPTEMBER, 2001
2001 | Girvin photo journal, September: NYC MEDITATIONS ON PLACE AND THE PROFUNDITY OF SENSE | NYC: SEPTEMBER, 2001 ––––––––––––– The sight of scene unknowing and the scented perfume of dissolution It was a couple of weeks after 9.11.2001 that I, along with a Girvin colleague, returned to NYC. We were working in the city, but we didn't really have an office there. Just working there a lot, as well as the eastern market front -- and flying there was the best option. There was a Girvin team in...
The concept of the interval: the use of space in design I think about what is presence. And I consider, what is absence? What is here -- easily seen; and what is next? What is the interval? What converts moment to momentum? One wind driven day, I was painting with master sumi-ye painter, George Tsutakawa. He, master; me, student. We were painting on the shore of the ocean - drawing with brush and ink-ground stone; and as the wind ripping around us, sipping saké, crows slipped through the air...
CASTING
WORKING IN IRON, AND HAMMERING IT, OR POURING IT MOLTEN INTO THE CRUCIBLE, ONE LIQUID BECOMES HARD AND FAST -- LASTING FOREVER. BUT THERE IS MORE. I'm thinking about the cast in two ways -- one, the molding itself, and by the form, what is poured into it. But what is cast is also a throw -- a casting, the stone that is thrown and formed in the hurling -- it is changed in the motion. To each there is a measure of the way in which this is done -- the art of the cast. I thank Douglas Harper for...
WHAT IS OUT, WHAT IS IN
THE PORTALS TO SEEING SOME ONE WAS TALKING TO ME ABOUT WINDOWS. Actually, I was looking at old windows and wondering about what's been seen between the seer and the sight beyond. These were old windows -- that were removed from houses. They were being sold as recycled objects. All showed time, wear and use; edges worn, some panes cracked -- and I pondered, that now, as I lay them on the floor, concrete staring through, what would their character be? What could have been seen? What was on the...