The Inspirations Collection.
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Welcome to designbivouac’s inspiration collection.
Exploring design and innovation.
Over 30 years of collaboration, designbivouac has uncovered lasting insights. Inspirations is a curated collection of inspirational objects and ideas shaping a continuous journey of creative exploration.
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SOLSTICE - 5 | Masterfully Visualizing Scale
Solstice—5: Forgotten Archives offers remarkable visuals that capture the scale of interplanetary exploration. It also delivers a powerful cautionary tale about our exploitation of nature and potential future uses of AI right here on Earth.
Solstice—5: Forgotten Archives offers remarkable visuals that capture the scale of interplanetary exploration. It also delivers a powerful cautionary tale about our exploitation of nature and potential future uses of AI right here on Earth.
The art direction and design by Paul Chadeisson are remarkable. The narrative weaves together suspense, discovery, and the ethical dilemmas of tampering with newly discovered planets. With its blend of mystery, technology, and human curiosity, SOLSTICE—5: Forgotten Archives offers a compelling journey into the unknown, inevitably forcing us to think about how we continue to explore and exist on our own planet.
The visualization masterfully captures a sense of scale. The world it presents is one of immense, forgotten technology — massive spacecraft and towering mechanical platforms that stretch far beyond the horizon. These colossal structures are not just remnants of some distant technological age but monuments to lost ambition, crumbling slowly in the face of time and erosion. What gives them true gravity, however, is their juxtaposition against vast natural landscapes — windswept deserts, jagged cliffs, and still valleys that seem to whisper stories of long-past industrial glory.
The visual storytelling is precise and intentional. Human figures are shown only sparingly, but when they appear, they are small — almost invisible at first glance. A lone explorer, a maintenance worker, or a robed traveler might be standing on a catwalk or dwarfed by the base of a landing gear the size of a city block. These moments are quiet but powerful. The contrast between human and machine scales invites reflection: not only on the limits of human capability but also on the haunting beauty of what we leave behind.
Papy...er...those SNL font short films!
These SNL shorts are amazing testimonials to those who put so much (and so little) into the fonts that surround us daily.
These SNL shorts are amazing testimonials to those who put so much (and so little) into the fonts that surround us daily.
The Saturday Night Live Papyrus font skits, especially the widely shared 2017 digital short starring Ryan Gosling, satirize the infamous overuse of the Papyrus typeface—particularly its appearance in James Cameron’s Avatar logo. In the sketch, Gosling plays a man haunted by the lazy design choice, obsessing over the fact that a billion-dollar franchise relied on a default font that comes pre-installed on most computers. The mock-serious tone, combined with cinematic visuals and dramatic narration, humorously captures the frustration many designers feel toward typographic shortcuts and poor aesthetic decisions.
The sketch resonated well beyond the design community, becoming a viral critique of creative complacency in branding and visual storytelling. It cleverly elevated a seemingly trivial design gripe into a broader commentary on artistic standards in high-budget productions. The popularity of the skit even led to a follow-up in 2022, referencing the release of Avatar: The Way of Water, where the joke continued with the revelation that the updated logo still bore a striking resemblance to Papyrus. These sketches have helped solidify Papyrus as a punchline in pop culture while also highlighting the importance of thoughtful design choices.
Futureproof: USGS Monitor
Future USGS locations may be supplemented with Monitor technology that collects data related to weather, vegetation conditions, wildfire management, wildlife migration, and more.
Future User Narrative
On a recent cross-country motorcycle trip, I stopped north of Moab, Utah, to bivouac for an evening. The dry creekbed and a nearby rock formation protected me from the gentle overnight breeze. I took a short hike at sunrise and came across one of those new USGS markers with a solar-powered camera Monitor kit anchored next to it. I scanned the QR code on the badge to access the viewpoint later. It was strange to have felt so alone and isolated the evening before, only to discover a Monitor station a quarter of a mile away. It's good that these resources are available for those who need assistance. I can also view the camera feed from this location remotely at any time, which is excellent as it is now one of my favorite bivouacking sites. Still, I am starting to wonder what it takes to get off the grid for a while.
Technology
AI-enabled, solar-powered image monitoring for fire prevention, weather forecast augmentation, vegetation monitoring, and remote assistance services
Implications
With new off-grid support infrastructure in place, what does getting away from it all mean?
How might this seldom-seen support network impact the human spirit?
How might USGS Monitoring technology save lives and communities as we experience more severe weather and wildfire events?
Futureproof is a series of occasional provocations illustrating possible future paths for technology and culture. Think postcards from the future.
Rediscovering "Thief"
In 1981, well before making another critically acclaimed film featuring thieves, Michael Mann created Thief, starring James Caan. The film’s cinematography, storyline, location selection, and soundtrack from Tangerine Dream set the tone for many action dramas that followed in the 1980s, including the series Miami Vice.
In 1981, well before making another critically acclaimed film featuring thieves, Michael Mann created Thief, starring James Caan. The film’s cinematography, storyline, location selection, and soundtrack from Tangerine Dream set the tone for many action dramas that followed in the 1980s, including the series Miami Vice.
Like Heat would do 14 years later by capturing the frenetic lives of thieves and the police who stalk them in Los Angeles, Thief challenges you to think more deeply about who sits on each side of the law and why. Whether in Chicago, Los Angeles, or Miami, Michael Mann has a gift for portraying a visually compelling underworld balanced by tragedy and shocking violence.
If you have seen the film Thief, let the link above and the film’s unique soundtrack take you back through the life of Frank, a talented jewel thief who emerges after serving twelve years in prison for stealing forty dollars, with a vision for how life will be. Frank's new life includes lifelong loyalty to mentors, the passionate love of a good woman, and a desire to live everyday life to its fullest.
These are admirable aspirations, but the methods Frank employs to attain his goals reveal an undertone of impending consequences that is ever-present throughout the film. Tangerine Dream’s soundtrack perfectly reinforces this throughout the film, accenting action sequences and seamlessly threading the drama together.
The film's authenticity partly stems from the fact that Mann cast some of the best safecrackers for roles in the movie. James Caan was trained to break into safes before filming started so that he would be familiar with the tools and methods used.
The detailed acting of the masterful cast adds deep credibility to Mann’s storytelling style, which is often said to involve the art of capturing truthfulness on film due to the preparedness he requires of his cast members.
If you enjoyed Heat and other works by Michael Mann but have yet to see Thief, give this film a viewing. Compelling visuals, great performances, and a fantastic soundtrack will likely make it worth any time stolen away.
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Moving Lounges of Dulles
Once seen as a critical element in ensuring efficiency in the nation's aviation mobility infrastructure, Dulles Airport's “People Movers” were part of a grand vision that involved transporting airline passengers directly from the ticketing area to their aircraft.
Once a critical element in ensuring efficient aviation mobility, Dulles Airport's “People Movers” were part of a grand vision that transported airline passengers directly from the ticketing area to their aircraft.
The system failed to scale with the advent of the 747 and other jumbo jets. Yet, it is inspiring to see the macro-level thinking that inspired a system envisioned to rise to the jet age and beyond, as captured in the promotional film from 1958.
However, the modular concept and convenience of conveyance underpin even today’s successful mobility-on-demand services. Modern airports achieve this via moving walkways, trams, shuttle buses, and carts. The means of delivery may have changed, but the value of the point-to-point mobility concept remains anchored in human need, which persists today.
An underground air train system now services terminals with greater efficiency. The original concept fell short of the compelling storytelling that the masters of design, Charles and Ray Eames, are known for. As with many notable moments in mobility, concepts from over 60 years ago can seem quaint or quirky.
Images: Library of Congress. Learn more about the Dulles International Airport’s “Mobile Lounges.”
The Unreal Work of William Faucher
This process video by William Faucher does an excellent job of capturing the process of photogrammetry and applying remarkable digital visualization skills to capture a scene inspired by Norwegian fishing villages.
This process video by William Faucher does an excellent job of capturing the process of photogrammetry and applying remarkable digital visualization skills to capture a scene inspired by Norwegian fishing villages. This current generation of visualization tools is powerful, but, in the end, the artist must, as always, master the medium that makes the work remarkable.
Photogrammetry is a sophisticated technique that involves the process of extracting precise three-dimensional information about objects, structures, or landscapes from two-dimensional photographs or images. It is widely used in various fields, including surveying, cartography, archeology, and remote sensing. Photogrammetry relies on the principles of geometry and trigonometry to determine the spatial relationships and measurements of objects within the images. Modern photogrammetry often combines traditional methods with advanced software and technology, including aerial and satellite imagery, to create highly detailed and accurate 3D models or maps. This technology has numerous applications, such as creating topographic maps, reconstructing accident scenes, and even producing 3D models of cultural heritage sites, making it an invaluable tool in a variety of industries.
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Flying Through Giga Berlin
Take a dynamic fly-through of Tesla’s Giga Berlin factory. It is remarkable to see all that goes into making some of today’s most advanced vehicles at one of the most impressive factories in the world.
Take a dynamic fly-through of Tesla’s Giga Berlin—a striking showcase of cutting-edge manufacturing in motion. From the moment you enter, you're immersed in a meticulously choreographed ecosystem where robotic arms, automated conveyors, and human technicians work in seamless harmony. It's remarkable to witness the scale, precision, and innovation that power one of the world’s most advanced vehicle production facilities.
Every stage of the process, from gigacasting massive body components to battery pack integration and final assembly, reflects Tesla’s drive toward efficiency, speed, and sustainability. Giga Berlin isn’t just a factory—it’s a glimpse into the future of industrial automation and a testament to what's required to bring today’s most modern electric vehicles to life. Giga Berlin is designed to be an advanced electric vehicle (EV) production hub capable of producing a wide range of Tesla vehicles, including the Model 3, Model Y, and future models.
The factory is expected to incorporate cutting-edge manufacturing techniques and technologies, with a strong focus on sustainability and energy efficiency. Tesla CEO Elon Musk has emphasized that the facility will include many innovations, particularly in battery and powertrain technology. One notable aspect of Giga Berlin is its commitment to environmental sustainability. The facility was designed with a strong emphasis on renewable energy sources, aiming to reduce its carbon footprint significantly. Tesla intends to make the factory a green and environmentally responsible operation, aligning with its broader goal of advancing sustainable transportation.
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Visualizing Movements
The creator of animgraffs, Jake O’Neal, has created a remarkable animation to clearly explain how mechanical watch movements functions.
The creator of Animgraffs, Jake O’Neal, has created an informative animation conveying how mechanical watch movements work. The visualization makes clear how each component works, how it is supported mechanically, and why jewels are used, somewhat poetically, within these mechanical masterpieces. Often taken for granted today, watches remain tiny miracles of engineering. Wind with care.
Climb on...together.
Amanda Gorman, a 22-year-old poet, read an original work at President Joe Biden's inauguration on January. 20, 2020.
Read more about Amanda Gorman, the nation’s first national youth poet laureate, here in the LA Times. Amanda Gorman, the nation's first National Youth Poet Laureate, has emerged as a powerful and inspiring voice in poetry and activism. Born in 1998, she gained international acclaim for her captivating poem, "The Hill We Climb," which she recited at the inauguration of President Joe Biden in January 2021.
Gorman's eloquent and poignant verses touch upon themes of unity, hope, and social justice, resonating with a wide audience. Beyond her remarkable talent as a poet, she is also an advocate for education and literacy, working to promote the transformative power of words and storytelling.
Amanda Gorman, a 22-year-old poet, read an original work at President Joe Biden's inauguration on January 20, 2020.
Through the Myst: Creativity and Constraints
The bivouac recently came across this War Stories video by Ars Technica in which Rand Miller recounts how challenging it was to publish the seminal interactive title Myst.
The bivouac recently came across this War Stories video by Ars Technica in which Rand Miller recounts how challenging it was to publish the seminal interactive title Myst. Launching such a beautifully immersive interactive experience was a remarkable feat in 1993. It required creatively navigating the technological constraints of early personal computers, reminding me of embracing the constraints of technology in my interactive work around that time.
Hyped Up On Hypercard
The bivouac had its own “war story” around the same time. The year was 1990. Apple’s HyperCard exposed many future interaction designers to the possibilities of interactive media. Simply placing invisible buttons anywhere over an image opened up creative avenues previously unavailable to storytellers and designers. Approachable and powerful, Bill Atkinson’s creation proved to be a friendly gateway to exploring code and non-linear interaction design for a wide range of designers in the late 1980s and early 1990s.
When clicked, these simple “go to” or “play” scripts were executed, taking users to other cards, flipping through a series of cards to create animations, or playing audio clips. Even though the experience was limited to simple black and white dithered images, Hypercard was its time's compelling and immersive platform with its unique combination of simplicity and creative publishing power. Indeed, hypercards preceded the commercial adoption of the World Wide Web and established the precedent of clicking on “hyperlinks” to navigate to additional information pages, which is commonplace using today’s web browsers.
Hypercard was a simple yet powerful introduction to interactive media for millions of users and designers.
A New Age of Interactive Multimedia
In the early 1990s, at the dawn of the age of interactive media, titles like “Columbus: Encounter, Discover, and Beyond,” produced by Robert Abel and distributed by IBM, set a new bar for empowering students to study a wide range of content in new ways. The title leveraged IBM’s large format IBM Ultimedia optical disc technology and was targeted at educational institutions.
The product description is impressive and reads:
“With James Earl Jones as narrator and Joe Morton as storyteller, these interactive titles span Europe and the Americas from the early Renaissance to the 20th Century from five different cultural perspectives -- White/European, Black/African, Hispanic/Latino, Asian and Native American. The largest multimedia project ever made, "Columbus," is on permanent display at the Library of Congress, National Demonstration Laboratories for new media and technology. Using an IBM CDROM drive, a Pioneer LaserDisc Player, and an advanced concept engine, "Columbus" connects 4400 scenes, 3,500 concepts, 5 hours of video, 180 hours of self-navigable imagery, and over 900,000 soft links on three videodiscs, and one computer optical disc.” This is a testament to the significance of the project.
As a budding interaction designer still in graduate school, I was so excited to see how the team was able to leverage visuals in icon form to help users navigate through the extensive content of the project. The possibilities of placing audio, visuals, and even early QuickTime film loops together, all to enhance storytelling, were influential to see in a commercial setting.
This and a piece focused on the immigration experience at Ellis Island created by Nancy Hechinger, who at the time had her multimedia production studio, Hands On Media. The Ellis Island work influenced my decision to explore using photorealistic points of contact within my interactive thesis work.
Exploring photorealistic points of contact was key to transcending interactive environments, which relied upon metaphor and abstracted icons. Abel’s work bridged the two worlds by providing vivid photos of objects or symbolic images, even on tiny button areas, guiding users across the environment’s functional elements. Hechniger’s work, and it is hoped that my thesis work also pushed the use of interactive elements further, allowing users to be further immersed in a story’s context.
Robert Abel and his team demonstrated the power of multimedia environments in educational contexts.
The Longest Day: An Interactive Thesis
In 1992, as part of creating my thesis work, I explored the use of photorealistic interfaces to immerse users in content. Meredith Davis guided my thesis work at the College of Design at North Carolina State University. Meredith recognized the power of interactive technology early on, and she had deep expertise regarding pedagogy. My thesis project focused on how interactive educational environments could benefit abstract, concrete, active, and reflective learners.
Content focused on the Normandy invasion. Users could explore content using a photorealistic montage of objects common to the battlefields of World War II as an interface. Different days could be selected by clicking on arrows next to the date on the header of the Stars and Stripes newspaper. Content could be explored hourly by clicking on watch hands in the interface. Active learners developed empathy with leaders of the invasion by analyzing cause-and-effect scenarios using a role-playing map. Audio content from the film The Longest Day helped users understand what it must have been like to participate in the invasion. Finally, users could reflect upon their learnings and compose letters home that included audio and video clips from the film. In this way, creative writing skills could be assessed.
Just as with Rand Miller, though on a smaller scale, this thesis work involved overcoming serious technological constraints of the time. Created using Macintosh IIsi with 5MB of RAM and a 40MB hard drive, the Normandy invasion was chosen as a topic in part because the content lent itself well to a greyscale interface aesthetic. Most personal computers at the time were limited to displaying 256 colors, resulting in dithered images. However, computers could accommodate greyscale images acceptably. Similarly, the greyscale QuickTime film clips took less disk space and loaded faster. For further information on this thesis work and the golden dawn of the interactive media era, take a look at this Medium article I wrote a while back.
Upon completing graduate school, I took on a teaching position and, within a year, had shaped and was teaching some of the earliest interaction design courses of the early 1990’s. Working with various undergraduate and graduate students in programs ranging from communications design to painting and sculpture, new interactive media experiences were created with passion. Then, in 1993, Robyn and Rand Miller created Myst, raising the bar for what could be done with the interactive media. It inspired a new generation of interdisciplinary students and creatives to combine the power of computer programming, visualization, audio scapes, music, and storytelling in compelling new ways. Thanks to Rand Miller for sharing his war story and creating an inspirational example of how constraints invite creativity. And thanks for reminding the bivouac of its early 1990s “war story.”
The Longest Day: An Interactive Overview used intuitive photorealistic interaction points throughout the interface.
A Technological Footnote:
Created using Macintosh IIsi with 5MB of RAM and a 40MB hard drive, the Normandy invasion was chosen as a topic in part because the content lent itself well to a greyscale interface aesthetic. Most personal computers at the time were limited to displaying 256 colors, resulting in dithered images. However, computers could accommodate greyscale images acceptably. Hence, the choice to create the thesis in greyscale.
Have you dealt with constraints creatively? If so, how and when?
Moonrise Podcast is a World Apart
The Moonrise podcast series takes a unique look at what it took for NASA to reach the moon.
The bivouac just finished the podcast from the Washington Post entitled “Moonrise.” The series takes a unique look at what it took for NASA to reach the moon. Packed with beautiful insights about the American and Russian space programs, the podcast takes a heavily covered topic and empowers listeners to take the journey anew with a fresh perspective. Take the journey to the ultimate bivouac and download the podcast series today.
Hassel + EOC Envision a Home on Mars
Congratulations to Hassell + EOC for crafting an inspirational bivouac for use on Mars. For many, conceptualizing habitation on Mars evokes the curiosity and optimism that was once experienced by many during the beginning of the space age.
Congratulations to Hassell + EOC for crafting an inspirational bivouac for use on Mars. For many, conceptualizing habitation on Mars evokes the curiosity and optimism once experienced by those taking part in earlier lunar exploration programs like Apollo. The 3D printed habitation concept is a beautifully considered design that accommodates constraints, builds on modular redundancy, anticipates harsh conditions of the red planet, and provides for the essential needs of a new generation of human explorers.
The Hassel + EOC concept of "Envision a Home on Mars" represents an innovative and forward-thinking approach to the prospect of human habitation on the Red Planet. This visionary project aims to design a feasible and sustainable living space for future Martian settlers, taking into account the challenges of the Martian environment while prioritizing the well-being and functionality of its inhabitants. With an inner inflatable living area architecture surrounded by a solid 3D printed structure made up on Martian soil, the facility will have dual layers of protection from atmospheric conditions. The design integrates cutting-edge technology, such as 3D printing and the use of local resources, to create a modular and adaptable living environment. It focuses on maximizing efficiency and self-sustainability, emphasizing features such as radiation protection, life support systems, and robust structures capable of withstanding the harsh Martian conditions. This concept envisions a habitat that fosters a sense of community and well-being while pushing the boundaries of architectural and technological innovation in the pursuit of establishing a viable human presence on Mars.
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What Is Your Project Space Like?
And how are you getting on with your mates in it? We all know that space matters...and so does gravity, as Paul Harrison and John Wood delightfully illustrate in Tate Shots Issue 12.
And how are you getting on with your mates in it? We all know that space matters, and so does gravity, as Paul Harrison and John Wood delightfully illustrate in Tate Shots Issue 12. Harrison and Wood's work has had a significant impact on the realm of contemporary art. They've inspired a new generation of artists to explore the intersection of humor and profundity. By questioning the nature of existence and inviting viewers to engage with the absurd, they've challenged traditional artistic conventions and opened doors to fresh perspectives on the human experience.
In the world of contemporary art, where experimentation knows no bounds, the work of Paul Harrison and John Wood stands out as a testament to creativity, humor, and a flair for the unexpected. This artistic duo has garnered international acclaim for their innovative and often humorous approach to video and performance art. Their work is celebrated for exploring human nature, the absurdity of everyday life, and clever visual storytelling.
Origins and Collaboration
Paul Harrison, born in Wolverhampton, England, and John Wood, originally from Hong Kong, first crossed paths during their studies at the Bath College of Higher Education in the late 1980s. Their artistic collaboration began organically as they shared a passion for exploring and transforming the ordinary into something extraordinary. Drawing inspiration from artists like Bruce Nauman and Eadweard Muybridge, they embarked on a journey to create a distinctive artistic language characterized by wit, absurdity, and meticulous execution.
Video Art as a Medium
Harrison and Wood's primary medium is video art, and their works often feature the artists themselves as protagonists. Their early pieces involved deceptively simple yet meticulously choreographed actions, blurring the lines between performance and film. One of their most iconic works, "One More Kilometer" (1999), showcases their love for dry humor. The video depicts the artists running in a loop to mark the passage of time, echoing the monotony of life's routines.
Themes and Concepts
At the heart of Harrison and Wood's work is a deep exploration of the human condition. They excel in distilling the absurdity and often futile nature of human actions, presenting them in a way that resonates with viewers on both a philosophical and comedic level. Whether walking in reverse, attempting to create a perpetual motion machine, or navigating surreal landscapes, their pieces provoke thought while evoking laughter.
International Acclaim
Paul Harrison and John Wood have exhibited their work internationally, from the Tate Modern in London to the Guggenheim Museum in New York. Their art has resonated with audiences worldwide, earning them recognition and respect in the contemporary art scene. Their willingness to tackle profound concepts through an unconventional lens has made their work accessible to many viewers, transcending language barriers and cultural differences.
Influence on Contemporary Art
Paul Harrison and John Wood's journey in the world of art has been nothing short of exceptional. Their ability to blend humor and philosophical depth in their work sets them apart, making them visionaries in the realm of video and performance art. Their creative collaborations have not only entertained but also forced viewers to reconsider the world around them. As their influence continues to resonate, it's clear that the artistic legacy of Harrison and Wood will remain a source of inspiration for years to come, reminding us that even in the most ordinary moments, there's potential for extraordinary art.
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Give A Little Love
Perhaps we should all take the message from Coca-Cola's recent video game-inspired commercial to heart this year.
Perhaps we should all take the message from Coca-Cola's recent video game-inspired commercial to heart this year. Created by Sheena Brady and Shannon McGlothin of Wieden + Kennedy, Portland, and produced by Nexus Productions UK, the spot serves up a cool and refreshing spin on the Grand Theft Auto genre of video games.
