At 194 feet wide and 1,312 feet long, the Matz Maersk Triple E is the largest ship ever built. It can carry 18,000 20-foot containers; its propellers weigh 70 tons apiece; it is too big for the Panama Canal, though it can shimmy through the Suez. All this is to say: This is a ship of daunting proportions.
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We have figured out the rules of creating sleek sophistication. We know, more or less, how to get it right. Now, we need a shift in perspective that allows us to move forward. We need a pole right through a horse’s head. We need to enter the third stage of this cycle. It’s time to stop figuring out how to do things the right way, and start getting it wrong.Read more from Why Getting It Wrong Is the Future of Design, by WIRED’s Editor-in-chief Scott Dadich.
Her work was an obvious choice for the cover of WIRED’s August issue, which explores how the smartphone has sparked an explosion in creativity.
Photographer Sara Cwynar focuses on this transformation with her complex compositions, which show every photograph has an arc. The moment the photo captures might be frozen in time, but the world around that moment moves forward and inevitably changes the meaning.
MORE: Turning Garbage Into Art Is This Photographer’s Life’s Work
The concept is bizarre, combining a building material from the time of Julius Caesar with a Jetsons aesthetic, but the approach has already worked before.
This newly-revived technique could provide low-cost housing for refugees and displaced people, and generally provide architects with a cost-effective way to explore convex construction.
These creations could pass as concept art for the Tomorrowland section of Disney’s theme parks.
It’s difficult for anyone to imagine the future. But what if you were largely unfamiliar with the present?
That’s the fascination at the heart of “Commissions for Utopia,” a series of futuristic scenes of North Korea dreamed up by one of the country’s promising young architects.
A modern-day Van Gogh!
Last spring Vincent Brady sold most of his belongings, moved out of his apartment and struck out on the road to document the night sky. But instead of taking your typical long-exposure shots, Brady designed himself a custom camera rig that’s allowed him to capture stunning 360 panoramic images of the stars and Milky Way moving in concert.