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究竟是椅子，还是雕塑？纽约艺术家William S.Stong的这份源于生活内里的天马行空，令我想到了Bless。这些椅子模糊了艺术和设计之间的界限，更是对日常事物的普遍定义和人类的惯性思维的挑衅与刷新。

New York artist William S. Stone’s work blurs the lines between design and art with his reimagined chairs and other domestic furniture.

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“冷漠的对待他人和生活，是设计的头等大罪”，Dieter Rams说。Dieter Rams的生活和工作始终围绕着“思考人们如何生活，以及如何生活的更好”这个中心点，他在1960年代设计的产品至今仍被人所用。Jonathan Ive为该书撰写了序言，Klaus Kemp为我们讲述了老爷子的早年生活，他是一位建筑师，这种知识背景一直影响了他一生的创作。本书不但分享了Rams的优秀设计和观点，更是Rams的生活和工作的一次全面而深入的记录。绝大部分的内容着眼于在他在Braun和Vitsoe担任工业设计师期间的工作，并从设计草图、技术图纸、设计原型、成品、市场营销等方面的物料的展示，串联起Rams的工作过程和经历。除此之外，本书最精彩的两个章节应当属Rams自己的家——这位拥有建筑师背景的人唯一建造完成的房屋。本书共320页，由Phaidon出版，Kobi Benezri担任设计。

”Indifference towards people and the reality in which they live is actually the one and only cardinal sin in design” – Dieter Rams. Dieter Rams’ life and work are indelibly linked to his thoughts about how people live, and how they can live better. Products he designed in the 1960s are still being produced and sold today – only one demonstration of the strength of his work. This comprehensive monograph covers both Rams’ life and his work, as well as his ideas on good design, which continue to inspire designers and consumers today. A personal foreword by Jonathan Ive evokes the influence that Rams has had on his own work and, by extention, the objects with which so many of us share our everyday lives. An introduction and an essay by Klaus Kemp tell the story of Rams’ early life, his training as an architect, and the intellectual context in which his ideas were developed. The next four chapters examine Rams’ work and his life – which are more or less synonymous – in depth. This includes his role at Braun as well as the work he did for the furniture company Vitsoe. Each chapter includes sketches, prototypes, finished products and the marketing for those products, giving a complete picture of Rams’ work and its context. Two other chapters in this section present Rams’ own house, the only work of architecture that he completed, and examine the products he designed at the level of detail, a crucial aspect to his work. A further chapter examines Rams’ ‘ten commandments’ of good design and his credo, ‘less but better’, in the context of his role as head of design at Braun, and a final chapter explores his legacy in the work of contemporary designers including Naoto Fukasawa, Jonathan Ive, Sam Hecht, and Konstantin Grcic.

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《Émigré》是一本非常具有实验性的平面设计和字体设计杂志，由设计师Rudy VanderLans 1984年创办于旧金山，直到2005年停刊，共计出版了69期，第70期《Émigré》则为1~69期的精华集结。《Émigré》致力于电子类的创作活动和图形设计中的新兴力量，始终关注理论化和主观性的设计方法。Émigré同时也制作和销售字体，整个编辑部就像一个实验室，开拓了电脑设计和字体设计的先河。关于《Emigré》的背景故事，点击这里可以了解到更多。在《Émigré》宣布停刊后，日本《IDEA》杂志采访了Rudy VanderLans，我们翻译了这段访问，希望可以给到大家一些启示。

Émigré was a graphic design magazine published by Emigre Graphics between 1984 and 2005; It was first published in 1984 in San Francisco, California, USA. Art-directed by Dutch-born Rudy VanderLans using fonts designed by his wife, Czechoslovakian-born Zuzana Licko, Emigre was one of the first publications to use Macintosh computers and had a large influence on graphic designers moving into desktop publishing (DTP). Its variety of layouts, use of guest designers, and opinionated articles also had an effect on other design publications. Toshiaki Koga from IDEA Magazine featured an interview with Rudy VanderLans: here

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纽约平面设计师Eunah Kim所设计的可擦除记忆组件包装，内附使用指南、个人和家人的信息记录以及术后记录工具。等到科学家成功研制出擦除记忆的药物的那一天，或许可以找他合作一下。

Eunah Kim is New York based graphic designer/artist. Citizen kit for an imaginary nation, based on the idea of erasing memory.

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德国设计机构Hort为德绍包豪斯基金会设计的整套视觉形象识别系统。

Hort have just created a new identity system for the Bauhaus Dessau Foundation.

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西班牙平面设计师David Ortiz，现为阿尔特兹艺术大学学生，作品“TDC: disassembly”是他为作曲家Dick Raaijmakers的散文《The Destructive Character》的第九章所做的设计。

Spanish graphic designer David Ortiz lives in Netherlands. He is an 3rd year student of the ArtEZ school of Arnhem. This publication “TDC: disassembly” contain the ninth paragraph of the essay “The Destructive Character” written by composer Dick Raaijmakers.

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