If we describe patterns also in terms of content, context, and contrast, we are able to define more precisely what a specific pattern is all about, what its role within a design system is, and how it is defined and shaped by its environment.
Friday, March 24th, 2017
Tuesday, March 21st, 2017
Wednesday, March 8th, 2017
Josh gives a thorough roundup of the Interaction ‘17 event he co-chaired.
“I think I’ve distilled what this conference is all about,” Jeremy Keith quipped to me during one of the breaks. “It’s about how we’ll save the world through some nightmarish combination of virtual reality, chatbots, and self-driving cars.”
Monday, March 6th, 2017
The conference starts tomorrow so I’ve had a day or two to acclimatise and explore. Seeing as Google are footing the bill for travel and accommodation, I’m staying at a rather nice hotel close to the conference venue in Tribeca. There’s live jazz in the lounge most evenings, a cinema downstairs, and should I request it, I can even have a goldfish in my room.
Today I realised that my hotel sits in the apex of a triangle of interesting buildings: carrier hotels.
Looming above my hotel is 32 Avenue of the Americas. On the outside the building looks like your classic Gozer the Gozerian style of New York building. Inside, the lobby features a mosaic on the ceiling, and another on the wall extolling the connective power of radio and telephone.
The same architects also designed 60 Hudson Street, which has a similar Art Deco feel to it. Inside, there’s a cavernous hallway running through the ground floor but I can’t show you a picture of it. A security guard told me I couldn’t take any photos inside …which is a little strange seeing as it’s splashed across the website of the building.
I walked around the outside of 60 Hudson, taking more pictures. Another security guard asked me what I was doing. I told her I was interested in the history of the building, which is true; it was the headquarters of Western Union. For much of the twentieth century, it was a world hub of telegraphic communication, in much the same way that a beach hut in Porthcurno was the nexus of the nineteenth century.
For a 21st century hub, there’s the third and final corner of the triangle at 33 Thomas Street. It’s a breathtaking building. It looks like a spaceship from a Chris Foss painting. It was probably designed more like a spacecraft than a traditional building—it’s primary purpose was to withstand an atomic blast. Gone are niceties like windows. Instead there’s an impenetrable monolith that looks like something straight out of a dystopian sci-fi film.
Brutalist on the outside, its interior is host to even more brutal acts of invasive surveillance. The Snowden papers revealed this AT&T building to be a centrepiece of the Titanpointe programme:
They called it Project X. It was an unusually audacious, highly sensitive assignment: to build a massive skyscraper, capable of withstanding an atomic blast, in the middle of New York City. It would have no windows, 29 floors with three basement levels, and enough food to last 1,500 people two weeks in the event of a catastrophe.
But the building’s primary purpose would not be to protect humans from toxic radiation amid nuclear war. Rather, the fortified skyscraper would safeguard powerful computers, cables, and switchboards. It would house one of the most important telecommunications hubs in the United States…
Looking at the building, it requires very little imagination to picture it as the lair of villainous activity. Laura Poitras’s short film Project X basically consists of a voiceover of someone reading an NSA manual, some ominous background music, and shots of 33 Thomas Street looming in its oh-so-loomy way.
A top-secret handbook takes viewers on an undercover journey to Titanpointe, the site of a hidden partnership. Narrated by Rami Malek and Michelle Williams, and based on classified NSA documents, Project X reveals the inner workings of a windowless skyscraper in downtown Manhattan.
Sunday, March 5th, 2017
This is really good fun! And thanks to service workers, it works offline too.
The rounds are:
- Dead or Not Dead,
- Number 1 or Not Number 1, and
- Oscar or Not Oscar.
An interview with Batesy that gives a nice insight into life at Clearleft.
He’s sketching mad, that one!
Friday, March 3rd, 2017
World of Concrete: Inside the Industry That’s Building Trump’s America Brick by Brick - The Atlantic
Fear and concrete in Las Vegas: a great piece of infrastructure reportage by Georgina.
Tuesday, February 21st, 2017
According to this, the forthcoming Clearleft redesign will be totally on fleek.
Tuesday, January 31st, 2017
Are you a UI designer? In Brighton? Well, feel in this form if you’re interested in gathering with like-minded people.
This local, monthly and free meetup will let designers show their work, share any methods, processes and tools and ask for the odd critique.
Wednesday, January 25th, 2017
A comparison of a few different tools for generating pattern libraries.
In this particular case, Fractal comes out on top:
It has the features we need, and I’m happier than I should be with how simple the directory and file structure is. The documentation has also been super helpful thus far. We’ve customized it with our client’s branding and are ready to roll.
Sunday, January 22nd, 2017
Under the hood it’s the same Blink engine that power’s the regular Opera browser (and Chrome) but I really like the interface on this experiment. It’s described as being a “concept browser”, much like a “concept car”, which is a nice way of framing experiments like this. More concept browsers please!
Saturday, January 21st, 2017
Having spent half a decade encouraging people to make their pattern libraries public and doing my best to encourage openness and sharing, I find this kind of styleguide-shaming quite disheartening:
These all offer something different but more often than not they have something in common. They look ugly enough to have been designed by someone who enjoys configuring a router.
If a pattern library is intended to inspire, then make it inspiring. But if it’s intended to be an ever-changing codebase (made for and by the kind of people who enjoy configuring a router), then that’s where the effort and time should be concentrated.
But before designing anything—whether it’s a website or a pattern library—figure out who the audience is first.
Thursday, January 19th, 2017
Some interesting insights from usability and accessibility testing at the Co-op.
We used ‘nesting’ to reduce the amount of information on the page when the user first reaches it. When the user chooses an option, we ask for any other details at that point rather than having all the questions on the page at once.
Ever been on one of those websites that doesn’t allow you to paste into the password field? Frustrating, isn’t it? (Especially if you use a password manager.)
It turns out that nobody knows how this ever started. It’s like a cargo cult without any cargo.
Monday, January 16th, 2017
A thoroughly fascinating look at which parts of a browser’s interface are available to prevent phishing attacks, and which parts are available to enable phishing attacks. It’s like trench warfare for pixels.
Sunday, January 15th, 2017
Friday, January 6th, 2017
A resource for American citizens put together by former congressional staffers. If you’re a US citizen wondering how you can resist Trump’s agenda, this should provide solid advice on what action you can take.
I love this recasting of the internet into a fantastical medieval setting. Standards become spells, standards bodies become guilds and orders of a coven, and technologies become instruments of divination. Here, for example, is the retelling of IPv4:
The Unique Rune of the Fourth Order is the original and formative Unique Rune, still commonly in use. All existing Unique Runes of the Fourth Order were created simultaneously in the late 1970’s by the Numberkeepers, at a time when Rough Telepathy was a small and speculative effort tightly affiliated with the Warring Kingdom of the United States. There were then and are now 4.3 billion Unique Runes of the Fourth Order, a number which cannot be increased. The early Numberkeepers believed 4.3 billion would be more than enough. However, this number is no longer sufficient to provision the masses hungry to never disengage from participation in Rough Telepathy, and the Merchants eager to harness Rough Telepathy as a “feature” in new and often unnecessary consumer products. This shortage has caused considerable headache among the Fiefdoms, the Regional Telepathy Registers, and the Coven.
Wednesday, January 4th, 2017
Aaron documents how he posts to his website through his Amazon Echo. No interface left behind.