Blogs The Gradient Emmet Byrne

I am the Design Director here at the Walker. I also help edit and design a sporadic magazine called Task Newsletter with Jon Sueda and Alex DeArmond.

Ordinary Pictures teaser trailer

Here is the teaser trailer for our exhibition Ordinary Pictures, cut by our videographer Andy Underwood-Bultmann. The show, curated by Eric Crosby, surveys a range of conceptual picture-based practices since the 1960s through the lens of the stock photograph and other forms of industrial image production. You can take a walkthrough of the exhibition here. […]

Here is the teaser trailer for our exhibition Ordinary Pictures, cut by our videographer Andy Underwood-Bultmann. The show, curated by Eric Crosby, surveys a range of conceptual picture-based practices since the 1960s through the lens of the stock photograph and other forms of industrial image production. You can take a walkthrough of the exhibition here. We’ll be publishing a post about the accompanying catalogue soon.

Raw Material: An Interview with Google Design

The SPAN Reader, a book released by Google Design in conjunction with its SPAN conferences in New York and London, is an eclectic collection of design thinking that investigates a variety of contemporary issues, such as the ethics of interface design, the implications of smart homes regarding privacy, the nature of time in digital space, the WYSIWYG paradigm, handmade computing, the haptic joy […]

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Dust jacket for Google Design’s SPAN Reader (2015)

The SPAN Reader, a book released by Google Design in conjunction with its SPAN conferences in New York and London, is an eclectic collection of design thinking that investigates a variety of contemporary issues, such as the ethics of interface design, the implications of smart homes regarding privacy, the nature of time in digital space, the WYSIWYG paradigm, handmade computing, the haptic joy of contemporary stonecutting, and even the architectural implications of burglary. The book features original writing as well as several reprints, and many of the authors featured are unexpected (at least to me)—it is one thing to read Keller Easterling’s critique of intangible architecture and power structures in its original context of the theoretical contemporary art journal e-Flux, and quite another to read it within the pages of a Google publication.

As a glimpse into the thinking behind Google Design, the SPAN Reader seemed a good place to start when trying to understand the culture and philosophies at work in the office. This post begins with a short interview with Rob Giampietro and Amber Bravo, creative lead and editor of Google Design NY, respectively, discussing the editorial mission of Google Design, the ever-evolving metaphor of “material,” and the process of creating the book.  Finally, Rob and Amber respond to a number of excerpts from the book (a reading of the reader?), offering us a chance to understand why these issues are important, and how they fit into the larger framework of Google Design. Many of the individual texts are available to read in full online, so please do click through.

 

GOOGLE DESIGN

Emmet Byrne: What is Google Design?

Rob Giampietro/Amber Bravo: Google Design is a cooperative effort led by a group of designers, writers, and developers at Google. We work across teams to create tools, resources, events, and publications that support and further design and technology both inside and outside of Google.

EB: One theme that resonates in the SPAN Reader is the idea of integrating digital design thinking with traditional modes of physical design thinking. Is this something Google Design takes to heart?

RG/AB: Digital design has benefitted tremendously from what’s come before it—print design’s focus on highly controlled and comprehensively specified modular systems, environmental design’s capability to compress, augment, and orient space, product design’s focus on the user and the affordances of a material, motion design’s ability to make information come to life in time, and so on. That said, today’s technology is really challenging the parameters between the traditional disciplines of design. When the interface becomes three dimensional, as is the case with VR, you need to completely reframe your thinking. Material Design mixes media in its framing as well—it thinks about how to make interfaces more immediately graspable, by playing with the dimensionality of light and shadow and thinking about how objects and surfaces like paper behave in the physical world. So we’re certainly interested in all kinds of design and what we can learn from them in our work and the field of digital designer more broadly. We also do a lot of non-mediated things like conferences and events, and in those cases we’ve had to think about how Material Design translates to other contexts—how it works in print, or how it works in space. Lance Wyman spoke at SPAN in New York about the design of urban iconography. As a team tasked with streamlining and evolving the company’s graphic language, we find ourselves often collaborating with teams on all levels of design, down to the tiniest details, like helping to refine product icons. So we really look up to and stand on the shoulders of Lance and others’ work in this field. If we do our jobs well, it’s a symbiotic approach, design and technology co-evolving, and highly attuned to the nuances of a user’s context in all cases.

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Example of a Material Design product icon


EB: When did “Material” come to represent something virtual instead of physical?

RG/AB: Google originated the name “Material Design” for the design system and always intended for it to be a broad, open-source initiative for the design community. We continue to lead and push the system forward, both visually and conceptually, so that it’s best-in-class and up-to-date, and we also rely on the community to push it forward and adapt it for their own uses to really bring it to life. Last year, we even established our first-ever Material Design Award, to acknowledge all the great examples of material design being produced by third-party product teams.

Example of Google Material Design “thickness”

 

In terms of the “virtualization” of material that you ask about, Material Design is a system for thinking about our digital surfaces that uses the traditional tenets of graphic design to suit this new context most appropriately. So, for example, with mobile devices, once you remove the mouse or other pointing device, then you are actually interacting with a surface, and the affordances of that surface—its materiality—become critical. So while it is virtualized, it’s also being touched. It’s still mediated, but less so. And that closer proximity to the interface offers a new set of opportunities. The floating action button (FAB) in Material Design rises up subtlely to meet your finger when you tap it. The number of layers in Material Design cannot exceed the device’s actual depth and fade into illusory space. It’s probably important to note that almost all GUIs have been metaphorically-driven. The desktop metaphor was one of the first, but following that were spatial metaphors (GeoCities, Internet Explorer, Netscape Navigator), and more heavy-handed physical metaphors like bookshelves, dashboards, etc. These metaphors often build a bridge to make a technology more familiar to new users, but, as these users become more accustomed to the technology, this metaphorical layer can be lightened and the technology can become a bit more true to itself. A last word on metaphors: it’s been interesting in the last few years to see the directionality of these metaphors reverse, so that instead of digital technology receiving metaphors from the analog world, it’s actually starting to provide them. In the last few months we’ve been interested to hear phrasing like “paintings as social networks,” “buildings as operating systems,” and so on. (more…)

Counter Currents: OOIEE on Superstudio

Presented in conjunction with the exhibition Hippie Modernism, the series Counter Currents invites a range of individuals and collectives—from writer Geoff Manaugh and artist Tomás Saraceno to Experimental Jetset and Josh MacPhee—to share how countercultural artists and designers of the 1960s and ’70s have influenced their work and thinking today. Here, RO/LU cofounder Matt Olson—now creating under […]

Counter Currents_NewOOIEE
Presented in conjunction with the exhibition Hippie Modernism
, the series Counter Currents invites a range of individuals and collectives—from writer Geoff Manaugh and artist Tomás Saraceno to Experimental Jetset and Josh MacPhee—to share how countercultural artists and designers of the 1960s and ’70s have influenced their work and thinking today. Here, RO/LU cofounder Matt Olson—now creating under the just-launched moniker OOIEE—reflects on the legacy of Superstudio and the Italian Radical Architecture movement. 

I was happy to be invited to write about something from the Hippie Modernism exhibition, but the experience has been a bit like returning from a trip to the ocean and having one of your friends ask, “Which wave was your favorite?” when you could honestly say, “I loved all of them.” That’s where I am now: I want to write about everything. All of it.

But maybe the only thing more impossible than writing about something is writing about everything. So maybe you can just agree to see it all in this post? The coded mist of knowledge and meaning here, not just the words. This slightly adjusted quote by Borges gets at what I mean: “In this blog post is the Blog Post. Without knowing it. The past tells the present the already forgotten story of them both.” 

Tolstoy didn’t like the word “love” because it means too much. So maybe that’s a good way to talk about this, as a love story? And since I can’t really write about everything…

Superstudio, Life: Supersurface, 1971–1973

Superstudio, Life: Supersurface, 1971–1973. Courtesy Archivio Superstudio. Photo: Walker Art Center

I remember falling in love with a few Superstudio images I encountered back in 2005 or so. It was love at first sight, truly. I didn’t really understand why and still don’t, but those images sorta came to get me. And there wasn’t really anything much on the Internet about the Italian Radicals at that point either. It created a longing. It seems like Superstudio knew back then what we’re learning (again) now, that the image, as a living idea, might be more important than the building in the image.

And so for a few years I tried to find more, and as I pursued what I couldn’t yet imagine, a whole world opened up. Gianni Pettena, Global Tools, Archizoom, pre-Memphis Ettore Sottsass, all the archi-zines

As this love and longing turned into motion and meaning I reached a place where, when I discussed it with friends, I would get nervous about my lack of “historical information,” and suddenly I was a little anxious about the things I loved. I wanted to understand the context which created all this. The political and cultural landscape. I was faced with the question of understanding in the more traditional sense rather than just appreciating and following a forceful, unknowable energy forward. But as I started to attempt this, I realized that any historical context I tried to create was, in fact, just that, a creation. A fiction. And as I attempted to turn the energy I was getting from these images and fragments of information into something I could intellectually pretend was an understanding, I noticed the love I felt around the work disappearing. Maybe the act of metabolizing it into a fictional arrangement was killing it? 

And then it hit me. It didn’t matter. I didn’t care. I wanted to trust the following forward of these things. The life of these things. I wanted to trust them. This work was teaching me that the Internet had freed history from an institutional and academic hierarchy told as a time-based linear story. Google images was the new context. History started coming to life in a whole new way for me—really coming to life—expansively pulling me forward into new projects of my own. Transforming me. It all seemed like waves. And a messy sky. And recently my work—created with my former studio RO/LU—was amongst theirs in the Superstudio retrospective in Milan. And it feels like the context was created by the Context.

A life without objects has, for me, morphed into a longing for a life without histories.

And I swear it’s love… and it does mean too much.

There's No Separation" by OOIEE at the Aspen Art Museum. 9.5ft x 14ft textile piece with photo of the sky used to cover Ryan Gander's sculpture.

OOIEE’s There’s No Separation—a 9.5 x 14-ft textile bearing the photo of the sky used to cover Ryan Gander’s sculptureat the Aspen Art Museum   Photo: Tony Prikryl

Matt Olson works on projects related to contemporary art and design. Landscape and environments  furniture and objects, actions and scenarios, teaching and speaking. On 01/01/16 he began OOIEE (the Office of Int.\Est.\Ext. [Interior Establishes Exterior]) as a new backdrop for exploring the intersections of time and perception as they relate to space and the objects that fill it. Embracing an “open practice” in the belief that following forward and trusting the work the world presents becomes a poetic collaboration with the great “everything.” He was recently a visiting artist at Cranbrook and installed There’s No Separation, the studio’s first public project, at the Aspen Art Museum. He is co-founder and former director of RO/LU.

Another Look Inside Hippie Modernism

We cut a longer trailer for the exhibition Hippie Modernism: The Struggle for Utopia, curated by Andrew Blauvelt, featuring more footage from inside the exhibition. The show closes February 28th here in Minneapolis, after which it travels to the Cranbrook Art Museum and then the Berkeley Art Museum and Pacific Film Archive. The trailer was edited […]

The Walker is looking for a Digital Designer

  The Walker’s design department is currently accepting applications for a full-time, digital designer position. In collaboration with members of the design, new media, and marketing teams, this person will work on: • web design projects • art direction of the Walker’s social media channels • art direction of the Walker’s online publishing initiatives • design […]

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The Walker’s design department is currently accepting applications for a full-time, digital designer position. In collaboration with members of the design, new media, and marketing teams, this person will work on:

• web design projects
• art direction of the Walker’s social media channels
• art direction of the Walker’s online publishing initiatives
• design of dynamic and interactive screens throughout the museum
• development of email and online advertising templates
• development of future online publishing strategies

As a member of the design department, this position will be tightly integrated with our print, wayfinding, publishing, advertising, blogging, and programming activities. This is a highly creative position that will continue to be defined moving forward.

Read the full job description here and we look forward to your application!

PS. The Walker is also looking for a new Social Media Specialist.

Counter Currents: Adam Michaels on Blueprint for Counter Education

Presented in conjunction with the exhibition Hippie Modernism, the ongoing series Counter Currents invites a range of individuals and collectives—from writer Geoff Manaugh and artist-archivist Josh MacPhee to Are.na and artist Tomás Saraceno—to share how countercultural artists and designers of the 1960s and ’70s have influenced their work and thinking today. Here, Adam Michaels of Project Projects […]

Counter Currents_5
Presented in conjunction with the exhibition Hippie Modernism, the ongoing series Counter Currents invites a range of individuals and collectives—from writer Geoff Manaugh and artist-archivist Josh MacPhee to Are.na and artist Tomás Saraceno—to share how countercultural artists and designers of the 1960s and ’70s have influenced their work and thinking today. Here, Adam Michaels of Project Projects and Inventory Press highlights the innovative nature of Blueprint for Counter Education as one of the defining works of radical pedagogy from the Vietnam War era.

 

Blueprint for a Counter Education

Blueprint for Counter Education

While I generally avoid hyperbole, I can say in good conscience that Blueprint for Counter Education is a truly unique cultural artifact. The outcome of a sustained iterative research, writing, and diagramming process that took place between Brandeis sociology professor (and future dean of Critical Studies at CalArts) Maurice Stein and his then-student Larry Miller, Blueprint’s innovative form and format were then developed by the graphic designer Marshall Henrichs as a mind-expanding example of carefully structured (and mass-distributed) anarchy.

Maurice Stein and Larry Miller, Blueprint for Counter Education, 1970, as installed in Hippie Modernism: The Struggle for Utopia. Photo: Greg Beckel

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Counter Currents: Experimental Jetset on Provo

Presented in conjunction with the exhibition Hippie Modernism, the ongoing series Counter Currents invites a range of individuals and collectives—from writer Geoff Manaugh and artist-archivist Josh MacPhee to Are.na and LUST—to share how countercultural artists and designers of the 1960s and ’70s have influenced their work and thinking today. Here, Amsterdam-based graphic design studio Experimental […]

Presented in conjunction with the exhibition Hippie Modernism, the ongoing series Counter Currents invites a range of individuals and collectives—from writer Geoff Manaugh and artist-archivist Josh MacPhee to Are.na and LUST—to share how countercultural artists and designers of the 1960s and ’70s have influenced their work and thinking today. Here, Amsterdam-based graphic design studio Experimental Jetset focuses on Provo, a counterculture movement in the Netherlands from 1965 to 1967.

Bernard de Vries with display promoting the White Bicycle Plan, Amsterdam, May 1966 Photo: Cor Jaring

What we learned from Provo is the idea that the city is basically an environment that could (and should) be shaped through the printing press.

At the heart of Provo is the notion of the city as a graphic space. Magazines were sold in the streets, posters were pasted to the walls, performances (“happenings”) took place on public squares (and around specific statues and monuments), surreal slogans were being chanted (such as the repeated mantra of “ugh, ugh, ugh”), and pamphlets were handed out to unsuspecting bystanders. In the meantime, the (illegal) printing press of Provo had to be moved constantly, from one location to another, because there was always the danger of confiscation. So the printing press itself was on a constant dérive through the city, echoing the way the Provos themselves were drifting through the streets of Amsterdam. (more…)

2015: The Year According to Hassan Rahim

To commemorate the year that was, we invited an array of artists, writers, designers, and curators—from graphic designer Na Kim to filmmaker Tala Hadid, artist Adam Pendleton to the Black Futures project—to share a list of the most noteworthy ideas, events, and objects they encountered in 2015. See the entire series 2015: The Year According […]

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To commemorate the year that was, we invited an array of artists, writers, designers, and curators—from graphic designer Na Kim to filmmaker Tala Hadid, artist Adam Pendleton to the Black Futures project—to share a list of the most noteworthy ideas, events, and objects they encountered in 2015. See the entire series 2015: The Year According to                                   .

Hassan Rahim is an artist, art director, and publisher. He has worked with a variety of culture producers including Ghostly International, Jay-Z, Suited Magazine, THVM, Wet, Marilyn Manson, MMOTHS, and more. He is co-founder of publishing platform Shabazz Projects, and has shown his personal work in Amsterdam, Milan, Miami, and Los Angeles.


2015-10

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Surging Seas

“In 100 years, this is going to be beach front property!” This map from Climate Central illustrates how the ocean’s water will overflow in best and worst case global warming scenarios. Additionally new reports suggest the sea level rise has slowed the earth’s rotation by 1.7 milliseconds.


2015-09

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Björk Live at City Center, NY

Tickets were $$$ but we had to make it happen. First time seeing Björk live. I wasn’t even familiar with the new album, which initially concerned me but turns out it barely mattered, her great performance paired with the general soundscape felt like I knew every song. Arca was low-key the star of the show with his outfit though.


2015-08

Floating Points, Elaenia

Album of the year, hands down. Floating Points has been on my radar for a long time, and I don’t think anyone expected a jazz album from him. Oh, and he’s studying for his PHD in “The Neuroscience of Pain.” You know, on the side.

© The Vinyl Factory, 2015 best LP vinyl record releases, Photography Michael Wilkin


2015-07

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Damaris Goddrie

2015 showed the rise of many great models of color in the fashion world. I keep up with the industry pretty closely, especially as my girlfriend (Jessica Willis) is a stylist. In particular we both were dead in love with Damaris on sight—she has such a classic look.


2015-06

Assassins

What Are Thooooose?!


2015-05

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“The AI Revolution: The Road to Superintelligence”

An eye opening piece on the exponential growth of human technology. Long read. My favorite vocabulary takeaway was the term “DPU,” or “Die Process Unit” — the amount of years a person would have to travel into the future to “literally die of shock” at how advanced and incomprehensible the world is to him.

Tesseract scene from Interstellar2014


2015-04

on stage during the BRIT Awards 2015 at The O2 Arena on February 25, 2015 in London, England.

Kanye West, “All Day” (Live At The 2015 Brit Awards)

The song wasn’t huge, but this was the most powerful TV performance in years. Clearly racially charged and totally unexpected. The looks on the crowd’s faces.


2015-03

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Martine Syms, Vertical Elevated Oblique

Walker readers may know her name very well by now, but if not, watch for it. Martine had an amazing debut solo show at Bridgette Donahue this year, the works of which were primarily inspired by a riff on a popular joke, “Everybody wanna be a black woman but nobody wanna be a black woman.”


2015-02

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The Lonely Death of George Bell

A riveting article by the New York Times, chronicling the process of investigating the life of a rather unknown hoarder who quietly passed away in his filthy Queens apartment. The journalist follows the city on their full journey, from tracking down his family/friends, to allocating his estate, and eventually burial. “Sometimes, along the way, a life’s secrets are revealed.”


2015-01

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West to East

On a personal note, 2015 will always be important to me as the year I moved to New York. My girlfriend Jessica and I left Los Angeles, clearly against the flow of most artist migration, to experience a new pace of life. So far, living in New York has given me perspective I couldn’t attain in California. But mostly, imagine growing up with movies like Home Alone but never having snow on Christmas!

Thomas Demand, Gangway, 2001

2015: The Year According to Åbäke

To commemorate the year that was, we invited an array of artists, writers, designers, and curators—from graphic designer Na Kim to filmmaker Tala Hadid, artist Adam Pendleton to artist and publisher Hassam Rahim—to share a list of the most noteworthy ideas, events, and objects they encountered in 2015. See the entire series 2015: The Year […]

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official portrait, Aurélien Mole 2012

To commemorate the year that was, we invited an array of artists, writers, designers, and curators—from graphic designer Na Kim to filmmaker Tala Hadid, artist Adam Pendleton to artist and publisher Hassam Rahim—to share a list of the most noteworthy ideas, events, and objects they encountered in 2015. See the entire series 2015: The Year According to                                   .

Åbäke is a transdisciplinary design studio based in London, working in the fields of graphic design, fashion, art, publishing, film, cuisine, music, furniture, dance, architecture, etc. “[Åbäke] means ‘something in between’, ‘a hulky rusty car which still functions but is not pretty’, ‘something clumsy’, ‘very large thing’, ‘monstrosity’, rather negative definitions but they somehow loosely describe what we do.” *


2015-01

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No news

A strange year regarding what news comes into one’s life. I gradually stopped buying newspapers or RSS-feeding myself with media which felt either focused on the negative or simply lying to us. Of course, Fox News is still a must to understand how low we have come. The only place I’d get a glimpse of what was happening was at airports. Even there, television screens are mute, which leaves some place to imagination. It’s just a ride, as Bill Hicks said once.


2015-02

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21 October 2015, the day Marty McFly arrived now

I was in the audience at a talk on that day. The speaker was wearing too many layers for the over heated conference room and kept taking clothes off and on while speaking of what has now left my memory. Retrospectively I understand he was wearing the Marty McFly outfit or equivalent, celebrating it for himself.


2015-03

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31 December 2015

I fell asleep early and dreamt of the Olympics and the US presidential election. I know who won yet cannot remember.


2015-04

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25 February 2015

My friend Yair Barelli and I are locked in a house for a week with ten students. We all agree to not discuss what happened with people outside.


2015-05

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11 July 2015

A year ago (take or leave a few days) On Kawara died. He’s still present, that’s cool.


2015-06

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13 March 2015

A baby was born in Sweden. In exactly 17 years time, few people know she will win the football World Cup for Nigeria, abolishing racism. Wow.


2015-07

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25 October 2015

Lotte Keller made a beef stew. Her children happily judged it the absolute best dish ever in the history of cooking. They even ate the salad without dressing.


2015-08

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3 January 2015

Stefano Carcetti, a student from Rome, didn’t use Internet or buy anything for the whole 24 hours.


2015-09

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25 November 2015

Julia Simon, a waitress in Brussels, buys a box of chocolate. She realises how bizarre it is they should be shaped as mussels and shrimps. She spends the next week asking people what they think of it.

Enter the Matrix: An Interview with Ken Isaacs

The following interview of Ken Isaacs by Susan Snodgrass was originally published in the exhibition catalogue accompanying the exhibition, Hippie Modernism: The Struggle for Utopia, 2015. — The highly individual practice of American architect and designer Ken Isaacs (born 1927, Peoria, Illinois) challenged conventional definitions of modernism through designs that sought radical solutions to the spatial and […]

EnterTheMatrix

The following interview of Ken Isaacs by Susan Snodgrass was originally published in the exhibition catalogue accompanying the exhibition, Hippie Modernism: The Struggle for Utopia, 2015.

The highly individual practice of American architect and designer Ken Isaacs (born 1927, Peoria, Illinois) challenged conventional definitions of modernism through designs that sought radical solutions to the spatial and environmental challenges of modern life. Fueled by the optimism that defined the postwar period, Isaacs began working with the new forms and technologies offered by modernism and advances in science, at the same time shunning the consumer-laden values of the American dream. The result was a lifelong commitment to a populist form of architecture that, because of its low cost and ease of construction, allowed a broad range of publics to participate in the design process.

These designs, all founded on Isaacs’s concept of the matrix or total environment, were built using a three-dimensional grid and took the form of modular units called Living Structures that unified the multiple functions of furniture and home, including nomadic, sustainable architectural dwellings or Microhouses. Isaacs also applied his matrix idea to various multimedia information systems, most notably The Knowledge Box (1962), which was re-created by Isaacs in 2009, an experimental learning chamber that eschewed the traditional classroom for “environmental” concepts of education.

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