Blog (page 44)

A brand new studio, but it feels really quiet. Nick is on holiday for the week. Matt Jones was in New York participating in the Microsoft Research Social Computing Symposium earlier this week, which focussed on “city as platform.” He’s currently in San Francisco with Jack, who is also on the road, working with Bonnier and Kicker on the next stage of Mag+. That’ll start ramping up more for us next week. Jack was in the studio on Monday putting up shelves. There’s a lot to do to settle into a new space, but wow it’s such a treat. I feel like I can stretch out here. There’s three times the space, it’s warmer, and it’s bright.

Tom is in the studio this week. He’s working on Ashdown, our UK schools project with Channel 4/4iP. He’s been extracting grades from tens of thousands of school inspections so we can start displaying a measure of pupil well-being, among other things.

Matt B is also here, sitting a couple of desks to my right, just outside the room we call “New Statham” (don’t even ask). He’s working on Kendrick, and the idea there is to learn from our on-phone prototype to completely map out the every screen and final visual designs of the beta version of the app. (Kendrick is a collection of iPhone apps for language learning, and the core team on that is Nick and Matt.) There are some features we’re leaving out of the beta – such as the first-run experience – but otherwise it’s about beauty and polish. It’s looking lovely, but there’s a risk of some screens being a bit too polished in a Bang & Olufsen stand-offish kind of way. More popular and approachable, with maximum beauty!

And it was Kari Stewart’s first day as studio manager on Tuesday! She’s making an enormous difference already. There’s a lot of admin she’s picking up, and the big thing we’re tackling together is how to a. provide a view of capacity and activity of the studio coming up; and, b. track projects so that we can build up a record of how we’ve done on each — frankly how much each project costs.

So I’m wanting to focus on project accounting and management accounts in the next couple of months. Are long consultancy jobs really profitable, given they mean principals are out of the studio and unavailable for even ambient involvement in other projects during that time? Are we good at estimating? It’s a concern of mine that, as BERG grows and the number of concurrent projects increases, we could accidentally paint ourselves into a cash-flow corner. Management accounts are about building ways to make these things visible. The financial accounts, projections, weekly catch-ups and ad hoc notes have previously been more than enough… but not so much now, and definitely not in another 3 months. There’s one or two larger projects I want in, so we need to de-risk growth.

My sister works at a medium-sized civil engineering firm, and they grade their projects (A, B, or C) in three ways: how profitable it was; how easy the client was to work with and how much they enjoyed the project; its strategic importance. I’d like to be able to do something similar.

And how can all of this be done with the minimum of overhead, and without distorting or risking what is a super pleasant working environment? I’m not keen on rules or explicit processes. I believe this kind of structure has to be thought of ecologically — how can it be included such that supporting it is still the easiest way to work, and that it naturally encourages good decisions without being an imposition, in the ecology of the studio itself?

A simple example, previously, has been putting the new work pipeline on the wall, and updating it every week. I’ve not pasted it up in the new studio yet, and that’s a problem. But just its presence kept us thinking about keeping the pipeline healthy and moving. So that’s the sort of thing I mean. But this is potentially a lot more heavy-weight, so I need to move with consideration.

I’m still learning what kind of tools are good for these needs, and really still figuring out what our needs are. But that’s the big picture of what Kari and I will be working on, in addition to the day-to-day studio life-support systems. Given that, I’m really curious to know what other people use for planning and tracking, so I’ve been asking around, and spotting other people’s work practices is one of the reasons I like reading weeknotes. Your own comments and thoughts are very welcome!

So that’s my week, in a nut-shell. I’ve been able to be much more involved with Tom and Ashdown, and Matt B and Kendrick, and I’ve really enjoyed that, and there’s a whole bunch of meetings and talking on the phone. I get to show off the new space and recent work, so it’s all good stuff.

It’s the first week back of the new year and it’s taken me until Friday night to write this post. We have begun the new year both in a new studio, and in medias res.

Sorry, that’s kind of fancy. I mean we are in the midst of things.

Straight away.

Ashdown hit alpha before Christmas and we’ve learnt a load. So Matt Brown is working on combining our learnings with the research Georgina Voss did, and figuring out the information architecture for the beta (which we hope will be public, and we’ll be building this over the next couple of months).

And Kendrick, while we all had a software build with which to teach ourselves Italian over the Christmas break, Nick Ludlam’s piled right back into development, and Matt B has come right back into designs for the next milestone.

You’ll have seen Matt’s name there twice. He is busy. It’s unfortunate that so much falls on him the first two weeks of 2010, but it seems unavoidable and so we scheduled this fortnight pretty carefully this time last month. Fortunately he’s more than up to it.

Matt Jones and Jack are in San Francisco with Bonnier next week. This week Jack has been putting together our bit of the new studio (shelves! Coat hooks!), and Matt has been working with Bonnier and following up exciting new possibilities with exciting new possible clients. There’s a lot that backs up when the studio closes for two weeks.

Tom Armitage has been incorporating Ben Griffith’s work on Ashdown, and building up robustness for the site ahead of the beta.

I’m ticking over. Chipping in on games ideas for Kendrick. Meeting and going over both detail and Ashdown strategy with Dan Heaf and Tom Loosemore, our investors from 4iP. Working with Darq to get our IT infrastructure back up. Book-keeping. I prepped the accounts for this last quarter’s VAT return in record time, so I can work on that with Kari Stewart, our new studio manager who starts on Tuesday.

But mainly I’m concerned that everyone is happy. The first week back after new year is tough. It’s like dropping suddenly onto a bike halfway up a hill and you just need to right away change down a gear and grit your teeth, push hard and keep pushing, or into a spaceship that is already going at a quarter light-speed through the asteroid belt. Like, there’s no ramping up. Projects are underway. Negotiations are on-going. We’re owed a lot and we owe a lot, fortunately more the former than the latter. There you are.

Monday was enthusiastic. Wolfish!

Wednesday evening, for me at least, well I was knackered. It felt like a Friday.

Hello 2010. And now it is Friday.

So we’re right back in the middle of things, blinking and startled, sharing a brand new studio with our best, most talented friends, and when one of us says phew there’s a need to acknowledge that and say yes, there it is, good work fella, now let’s change down and dig in.

Phew.

Yes.

Change down, and dig in.

A long while without links: I blame December deadlines and moving studio. A shame, given we’d been collecting a whole series of links on the studio mailing list; time to rectify that by sharing them with you, starting with a selection of articles connected by the theme of drawing.

Hand grid with guide grid by atduskgreg on Flickr

Melt Triptych – Center Portrait from Peter Esveld on Vimeo.

Drawing Machines 2009 – the blog that kicked off the idea for this post, which we found after they linked to our little Inductive Truck prototype.

Accompanying a Fall 2009 class at ITP, the blog is full of links to all sorts of automated and programattic drawing devices, as well as examples of final work. I particularly liked Greg Borenstein’s post on drawing grids distorted by gravity, in an attempt to make visible the weight of objects, and enjoyed Peter Esveld’s Melt Triptych (also above) a lot.

Edward Zajec ram2/9 plotter drawing 1969

A lovely selection of plotter drawings from the 1960s – a very early example of artwork created entirely digitally, with a surprising variety of styles on display.

And how about this: the Great Diagrams in Anthropology, Linguistics, & Social Theory pool over on Flickr, full of diagrams of linguistic constructions, social spaces, Polynesian tattoos, and suchlike. Exciting.

Untitled, Computer print-out with coloured pen and ink, Harold Cohen, 1969, from the V&A collection

And we – we being BERG – can’t talk about computer art without reference to Cybernetic Serendipity, the 1968 exhibition of computer art originally shown at the ICA. There’s a nice overview of it – and its importance – at the ICA website, and also in these original descriptions from its curator, Jasia Reichardt.

The Harold Cohen above is a lovely sample of it – its gridded pattern of cursive loops remind me a little of the distortion patterns Matt was playing with a while back.

Growth Assembly, by Alexandra Daisy Ginsberg & Sascha Pohflepp.

Worldwide shipping of manufactured things is very inefficient. Why not ship devices and utensils in a single envelope? As seeds.

As ideas.

Officially we’re closed this week. But on Monday we packed up the old studio, and yesterday Tom, Matt B, Tom Taylor (from RIG) and I moved all our collective stuff 100 yards down the road and piled it up in the new place.

I ache!

But it feels great. Imagine that in a Tony the Tiger voice. Grrreat!

I’m popping down there later so the locksmith can do the windows. And once all the odds and ends are finished between Christmas and New Year, I’ll pop down again and straighten out some desks so we have a running start on the 4th.

So yes, we’re closed next week too. I won’t write anything for week 238.

I just had a look back at our work from 2009. Chronologically:

• Shownar, a telly and radio guide based on data-mining the social Web for buzz (BBC). Shownar was a successful prototype, and its technology and ideas will be integrated into bbc.co.uk in 2010.
• The Incidental, a map and guide to the Milan furniture fair, printed nightly and updated from the social Web (with Fromnowon, the British Council, and Åbäke). The Incidental was also published at the London Design Festival and I’m sure it’ll be back.
• Here & There, maps of Manhattan projected in plan and from street level simultaneously, our first product and sold online. It was a great success for us.
• Nearness and Immaterials, short film explorations of RFID and connection without touching (Touch project). These films have each had over 100,000 views.
• Mag+ interaction design and video on the future of digital magazines. The video established the reading experience as central, has had 200,000 views in just under a week, and received fantastic write-ups from the NY Times, Guardian, Engadget, Gizmodo, All Things Digitial, Wired, Core77, Creative Review and many more.

Ashdown and Kendrick, both projects on this scale, are well underway, and there are three workshop/invention gigs over 2009 I haven’t mentioned, with another two just starting up. There are two or three self-initiated projects which haven’t yet seen the light of day.

Then there’s the rebrand from Schulze & Webb, two studio moves including this one, and general growth and everything that comes with it — the Dayeujin and the Escalante.

Also we’re having fun.

This is going to sound weird: it feels like we’d done more.

Growing takes a ton of energy. If you grow and want people to be as happy as when you were smaller, able to focus on the work yet have that work continuously improve, and have the studio benefit from that growth too… well, developing everything from cultural values to patterns for workshop proposals to financial projections takes effort to get going. Scaling is hard.

There’s a little more growth I want to do in the early part of the year, and one more ingredient to throw into the mix, then I want to turn some of that growth energy into basic work and studio energy.

But enough about that.

On the whole, a good 2009.

That feels like an awesome thing to be able to say. A good 2009!

Grrreat!

A short advertisement: if you’re looking for a New Year resolution, and you have a small company or work freelance, consider keeping weeknotes! Bryan Boyer aggregates several at weeknotes.com and it’s an awesome learning experience reading how other people work. Personally I find reflecting each week helps me and helps the studio, and clients and friends seem to like them. There’s something about the regularity that surfaces things that otherwise wouldn’t come up. The form is like a click track. Anyway. You should do it, and let me know if you do.

Advert over.

See you on the other side!

I started writing this yesterday, waiting for an appointment at the bank. Forms to sign. The business specialist was double-booked — I had to wait and wasn’t in a good temper about it. Bad karma: I double-booked myself later, and didn’t realise I was supposed to be meeting Ben about cybernetics. When he phoned me, I was in a meeting about Kendrick with Nick and Matt Brown. We were sketching out the next rev of the UI. Actually, Nick and Matt were sketching. I was asking questions. Do you think this screen should transition into the learning room? Is that inconsistent with the quick play functionality?

I’m now writing with a mug of tea before heading to a meeting across town. I have a 10,000 lux Lumie lamp next to my kitchen table. It’s the spectrum and brightness of the noon desert sun.

We’re having an eventful last week before Christmas!

Our cooperation with Bonnier R&D is public: the Mag+ concept video shows a digital magazine that prioritises the reading experience. A video prototype like this is an establishing shot and it’s done its job. 79,000 views on Vimeo in a day (now 102k), and some astoundingly flattering write-ups. I’m proud of the team, their design, research, instincts, and aesthetics.

It’s four hours later.

Matt Jones and I had an early meeting near Waterloo – getting experienced advice about a possible major project – and then we came back to a very packed studio. Matt Brown, Tom Armitage and Nick Ludlam were all in. We’ll be sharing the Ashdown alpha with some friends and family and Tom is busy wrapping up development on that. He’s building a kind of fruit machine for data exploration. And Nick is rounding off a build of Kendrick today that we can install on our iPhones and use over the holidays. That’ll help enormously with the next round of design.

That’s three people. Our friends Andy Huntington and Tom Taylor were in too, working on their own things and hanging out. So with me and Matt back, and then Ben Griffiths popping in to deliver the gobs and gobs of data he’s been scraping (very elegantly! I’m impressed), well, it was pretty full of life. Crowded.

It’s our last day in this studio. We all got presents yesterday. On Tuesday we’re moving into the new place which we’re sharing with RIG. I can’t wait. Here’s a pic. It’s a great space, and you couldn’t want for a better firm or a better group of folks to share with. RIG are the folks behind Newspaper Club, one of our favourite things going on right now. This is going to be good. Energy feeds off energy.

I, on the other hand, feed off food. It’s lunchtime.

It’s two hours later.

Good lunch, and good meeting. Heading off a potential soft spot in the team first quarter next year.

I swung by the new studio on the way back. The builders are running a little behind schedule but we’re still on for Tuesday.

Gimme Shelter is on the stereo. I remember it from the soundtrack to Wild Palms (Oliver Stone/Bruce Wagner/1993). Wild Palms is about telly and holograms and is set in Los Angeles in 2007. In 1993 that felt impossibly future.

Other news this week: Shownar has reached the end of its life, at least in this incarnation. It’ll be rolled out across bbc.co.uk in various ways in the early part of 2010. It’s sad to see it go. This time last year we were tendering for the project. The docs were submitted just before Christmas, and we won the project just before the new year. At the time, the company was me and Schulze.

How far we’ve come!

And we’ve not reached cruising altitude yet. We’re not quite at the second act. Not quite. Give me a few more weeks.

It was a pleasure last night to see so many friends at the pub for impromptu work drinks. If you were there, thanks for coming! Standing outside in the snow with Matt Jones, drinking hot rum and looking back over the first few months of BERG, that’s what it’s all about. What a ride. What a ride.

I’ve got something I want to share with you.

We’ve been working with our friends at Bonnier R&D exploring the future of digital magazines. Bonnier publish Popular Science and many other titles.

Magazines have articles you can curl up with and lose yourself in, and luscious photography that draws the eye. And they’re so easy and enjoyable to read. Can we marry what’s best about magazines with the always connected, portable tablet e-readers sure to arrive in 2010?

This video prototype shows the take of the Mag+ project.

You can see this same video bigger on Vimeo.

The articles run in scrolls, not pages, and are placed side-to-side in kind of mountain range (as we call it internally). Magazines still arrive in issues: people like the sense of completion at the end of each.

You flip through by shifting focus. Tap the pictures on the left of the screen to flip through the mag, tap text on the right to dive in.

It is, we hope, like stepping into a space for quiet reading. It’s pleasant to have an uncluttered space. Let the Web be the Web. But you can heat up the words and pics to share, comment, and to dig into supplementary material.

The design has an eye to how paper magazines can re-use their editorial work without having to drastically change their workflow or add new teams. Maybe if the form is clear enough then every mag, no matter how niche, can look gorgeous, be super easy to understand, and have a great reading experience. We hope so. That gets tested in the next stage, and rolled into everything learned from this, and feedback from the world at large! Join the discussion at the Bonnier R&D Beta Lab.

Recently there have been digital magazine prototypes by Sports Illustrated, and by Wired. It’s fascinating to see the best features of all of these.

Many teams at Bonnier have been involved in Mag+. This is a synthesis of so much work, research, and ideas. But I want to say in particular it’s a pleasure to collaborate with our friends at R&D. And here at BERG let me call out some specific credits: Jack Schulze, Matt Jones, Campbell Orme and Timo Arnall. Thanks all!

(See also Bonnier R&D’s Mag+ page, where you can leave comments and contact Bonnier, and the thoughts of Kicker Studio — who will be expanding the concept to robust prototype over the next few months in San Francisco! BERG’s attention has now moved to the social and wider services around Mag+ – we’ll be mapping those out and concepting – and we’re looking forward to working with all the teams into 2010. Awesome.)

The future of 1982, that is.

Rick Dickinson, of Dickinson Associates, has uploaded a whole portfolio of images to Flickr – both illustrations and photographs – from his work designing the hardware for the ZX Spectrum. You can view the whole set here.

It’s a lovely slice of British technology history – designing what the home computing revolution would look like. But it’s also full of some lovely illustration, showing just how product design overlaps both engineering and more aesthetic disciplines.

And I really liked this drawing of the keyboard.

(Image: “Sketch for how the keyboard plate might be fixed” by Rick Dickinson on Flickr)

Schulze is on holiday. Matt Jones is with Bonnier R&D in San Francisco, delivering the films the team produced for this stage, and kicking off the next. The films are gorgeous and spot on. Tom is bringing Ashdown to life (we’ll have a friends+family alpha for the end of next week).

I am on the bounce.

Matt Brown’s design work on Kendrick and Ashdown is beautiful, inventive, and human. Nick prepped me for the Kendrick client meeting on Thursday with an iPhone app demo build that got confirmations in all the right places, and excitement in a number of surprising ones. Ben Griffiths is scraping colossal amounts of education data. Georgina’s research into UK education is insightful and the report she delivers next week will be super useful. Benjamin’s cybernetics research is beginning to illuminate the links between a vast cast of characters. The building work continues.

And Kari Stewart is joining us as Studio Manager! She starts in January. This is excellent.

When a studio is really working, people and ideas feed off one another. Code or design will reveal an opportunity or a problem. An idea will be floated. Someone will take it, reference something they know (an unusual style of photography; a rare game format from the 1980s; the nature of time and space), spin it and throw it back. Ideas fold and stretch. And then, somehow, something simple and to the point will appear, and that’ll be the new direction. It doesn’t matter what people are working on, everyone has something to add. There is a kind of multiplier effect, the more people are in flow, in the studio.

What I try to concentrate on is enabling this studio-wide flow. When it’s working well I’m buoyant, exuberant.

What blocks it? Concerns about direction, time, support or money; overwork; unhappiness; lack of confidence in the work; lack of openness to critique.

How can it be steered? Enthusiasm and passion, examples and influences, shared values.

What do we value? That which is: Popular. Inventive. Beautiful.

The building work on the new studio started Monday. There are walls going up. Earlier today Schulze chose where the new plug sockets go. I understand the internal glazing is going to look wonderful.

Things are underway.

Let me speak about that for a minute.

There’s a time, in projects, where you’re in the middle. You can see neither horizon. Last year, when I was running a lot, I used to hate running along canals. Time passed but I would have no sense of momentum. Nothing changed; bridges would take hours to arrive. Space was not being consumed.

In our Tuesday 10am round-up, I tried to put my finger on it. “There’s nothing in crunch,” I said, but that wasn’t right — Schulze is doing pretty much nothing but closing this phase of our prototyping with Bonnier, ahead of his travelling next week, and Matt Jones is spending a good deal of time with him too.

The crunch is pretty intense. We just postponed this evening’s Christmas dinner because three people need to work. Even with five remaining it would feel both lonely and, knowing other people were up against it, somewhat mean. We’ll re-arrange. I admit, it’s disappointing.

But as Kendrick finds its feet, and Ashdown uncloaks, and builders build, and pitches are pitched, one crunch is now only part of the mix.

So it’s the whole studio that is underway, and it has been for a few weeks. You don’t notice the forest till you’re in it. Our three main projects have pace. Business development has pace. Closing has pace. The general business of the studio has pace. And this is a different way of working. It’s not struggling to warm our limbs up or to build up momentum, it’s a new kind of feeling, a new kind of push. To maintain.

The hazard here is a kind of fatigue. I don’t mean tiredness. We’re alert, happy and joking, and working hard. The studio is a joy to be in. Little victories twice a day!

I mean there is a risk of a fatigue that manifests as a kind of loss of mindfulness. There are effects. When the studio rhythm is threatened, it is now harder to meet that disruption with welcoming equanimity… and we have to, because change is good. And it is harder to focus on longer-term, hard graft, self-initiated projects, because that, in a way, devalues the hard work and the great thump-thump-thump rhythm of what keeps the studio running. In a funny way it becomes as hard to see the big picture as when you’re right at the beginning of a start-up and living week by week.

This is a new kind of challenge, a different kind of mountain to the one we’ve scaled over the last quarter. I’m paying attention to it.

Maybe I’m projecting: It’s raining hard outside, I’m still behind on things and still tired from being ill last week, we’re in the run-down with Christmas with lots to do, I’m disappointed about not going out for dinner tonight with the guys, the studio has never been simultaneously so entertaining and productive, and everything is blossoming. It is tumultuous. Yet I feel impatient for the future, I want to show you things. There are things I want to add.

And, as Matt Jones has just pointed out, there is apocalyptic post rock with very long titles on the stereo, and that can’t help but contribute.

I mention all this here because this is life in week 234, and if you recognise what I’m talking about then I would welcome your comments.