Rafael Araujo’s illustrations are bafflingly complex—so complex that you might assume the artist uses a computer to render the exacting angles and three-dimensional illusions. And true, if you were to recreate his intricate mathematical illustrations using software, it probably wouldn’t take you long at all. But the craziest part of all is that Araujo doesn’t use modern technology to create his intricately drawn Calculations series—unless, of course, you count a ruler and protractor.
Look at all those subway stops! No, it’s not NYC. This is what L.A. could look like…
If you live in a city and take public transit, you’ve probably looked at the system map and thought to yourself, “I wish this thing went everywhere.”
You’re not alone. There’s a whole bunch of daydreamers just like you who’ve considered the additional subway lines, bus routes, and train tracks it would take to bring more people to more places. Some of them have even mapped these ideas out. The internet is full of these fantasy transit maps, where professional transit planners and dedicated amateurs alike imagine how public transit in our cities could look.
The 13-second piece, which debuted today on WIRED’s Instagram and is embedded above, begins with Orwell’s rejection from Knopf – previously part of Simon’s “Black Square” series – and ends with a rejected Freedom of Information Act request made by internet activist Aaron Swartz, with whom Simon worked on the imageatlas.org project.
Where You Are, like most of Visual Editions’ titles, isn’t a book in the traditional sense of the word. It has no pages and chapters; rather, the publishing house’s newest offering is a box full of artwork and essays that tell the story of artists, writers and thinkers in map form. “We asked 16 writers, what is your personal idea of a map? recalls Iversen. “And we got 16 different expressions of that.” The resulting book is meant to be opened, spread out on a table and delved into like you would an atlas before a road trip. In other words, Where You Are is a distinctly Visual Editions experience.
After 25 years as a boilermaker, shipfitter and welder, photographer Joseph Blum knows his way around construction sites. His remarkable photographs take us behind-the-scenes on the construction of the new eastern span of San Francisco’s bay bridge, and are on view at the San Francisco Arts Commission gallery through September.
This is no ordinary construction site — the bridge is the largest self-anchored suspension bridge (SAS) in the world, and it connects the East Bay with San Francisco. Footed in mud strata, with giant shock absorbing fuses embedded underneath the roadway, the bridge is designed to be a seismic neutralizer and provide a lifeline into San Francisco for emergency services even when the surrounding area is flattened. It’s also supposed to last for 150 years.
It better. The price tag stands at $6.3 billion, orders of magnitude above initial projections, and the final cost to taxpayers could surpass $12 billion when all is said and done. That dollar figure includes manufacturing giant portions of the bridge in China and transporting them by boat (though this was the less expensive option), not to mention the laundry list of costly setbacks over more than a decade of construction.
Joseph Blum has been there to see it all as the men and women on the bridge have worked in all kinds of conditions to make the blueprints a concrete and steel reality. He shoots with 25-30 pounds of equipment, climbing high above the water and dangling from sections of massive infrastructure. Blum has become accustomed to the conditions on the bridge: wind, rain, fog, cold and extreme heights. He’s also 72 years old. Blum spoke with WIRED last week after coming off the bridge where he was “tied-off” (in a harness) and hanging over 150 feet above the water as he watched parts of the falsework (the supporting bridge) being cut away.
Wired has put a smorgasbord of images on its cover since issue 1.1 hit the stands in May 1993. They’ve run the gamut from Stephen Colbert to Lego figures and deep thoughts on the end of the web. The one thing they’ve shared in common is innovative, eye-catching design — from the loud neon hues of the 1990s to the quiet minimalism of our 20th anniversary issue. To commemorate that anniversary, community editor Brian Mossop worked with Wired’s video team to compile every cover — nearly 250 of them — in a 30-second video celebrating our first two decades. Enjoy!
Jennifer Mann is an engineer with a creative spirit, a combination she infuses into eye-catching projects.
After finishing her master’s degree in mechanical engineering from the University of Michigan, Mann headed west to San Francisco to get involved with the area’s burgeoning technology field. With hands-on capabilities and maker interests, she quickly got busy building and working on various projects, including Ben Cohen’s (of Ben and Jerry’s fame) StampMobile, a traveling, money-marking, Rube Goldberg-style machine that is designed to help bring awareness to campaign finance reform initiatives.
One of Mann’s most dazzling projects, however, is her LED space helmet. Inspired by an invitation to a David Bowie-themed costume party, she decided to base her outfit on the Bowie tune “Space Oddity.” The ensemble’s two-piece dress combines shiny blue and metallic silver fabrics, but the helmet is the showstopper — its retractable plastic dome is internally lit with strips of LED lighting that fluctuates and changes color via remote control.
The outfit was a big hit at the party, leading to Mann offering the space helmets for sale online. But to take your protein pills and put a helmet of your own on, you’ll have to request a special build — for now, she’s all sold out.
[via Wired Design]
Doug Aitken’s newest art installation is as big as the building on which it suitably resides.
The Seattle Art Museum will have a permanent change starting this weekend when Aitken reveals his giant LED and glass display called Mirror, which displays continuously changing images to match the surroundings of the museum. Commissioned by the late philanthropist Bagley Wright in 2011, Mirror acts as a living museum outside the Seattle institution, using an enormous collection of moving images captured by Aitken to reflect local life.
[More @ Wired Design]