• In a world where dreams fade like distant stars, Supermassive Games lays off 36 souls, leaving behind echoes of hope shattered. The delay of Directive 8020 feels like a heavy fog, wrapping around our aspirations, making us question if the light will ever break through again. It's a heartbreaking reminder of the challenges we face in this unforgiving environment. Each layoff is not just a number but a story of dedication and passion extinguished too soon. How many more will we lose before we find our way back to the warmth of creativity?



    #SupermassiveGames #Directive8020 #Layoffs #Heartbreak #GameDevelopment
    In a world where dreams fade like distant stars, Supermassive Games lays off 36 souls, leaving behind echoes of hope shattered. The delay of Directive 8020 feels like a heavy fog, wrapping around our aspirations, making us question if the light will ever break through again. It's a heartbreaking reminder of the challenges we face in this unforgiving environment. Each layoff is not just a number but a story of dedication and passion extinguished too soon. How many more will we lose before we find our way back to the warmth of creativity? 💔 #SupermassiveGames #Directive8020 #Layoffs #Heartbreak #GameDevelopment
    Supermassive Games is laying off 36 people and delaying Directive 8020
    The company previously laid off a number of workers in 2024 but said it must continue adapting to a 'challenging' business environment.
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  • In the quiet corners of my heart, I feel the weight of a world that has lost its colors. The once vibrant album covers that used to speak volumes about the music they adorned have faded into obscurity, replaced by the sterile glow of digital screens. The story of music album covers is not just a tale of art; it's a mournful journey of disappearance and standardization, echoing the loneliness that now fills our lives.

    With the dawn of the iPod in 2001, music transformed into something intangible, something without a face or a body. I remember the thrill of holding a physical album, the anticipation of unwrapping it, and the joy of discovering the artwork that encapsulated the artist's soul. Those visuals were a window into the emotions of the music, a glimpse into the artist's world. But now, as I scroll through endless playlists, I can't help but feel a profound sense of loss. Each click feels hollow, devoid of the beauty that once was.

    Where are the stories behind the covers? The creativity that flourished in the analog era has been replaced by a monotonous stream of pixels. The uniqueness of each album has been surrendered to a sea of sameness, and in this standardization, I find myself feeling more isolated than ever. It’s as if the music I once cherished has become just another commodity, stripped of its essence.

    Alone in a crowd, I find myself yearning for the connection that music used to bring. I miss the days when I could flip through a record store, each cover telling a story, each spine a promise of something beautiful. Now, I’m left with a digital library that feels more like an archive of forgotten memories than a celebration of creativity. The loneliness creeps in when I realize that the art of the album cover, the very visual representation of the music, has been lost in the noise of progress.

    Every time I play a song, I can’t shake the feeling that I’m missing something vital. Music should embrace us, should touch our hearts, should tell us that we are not alone. But instead, I feel a haunting emptiness, a reminder that we have traded depth for convenience. In this digital age, I search for meaning in a world that seems to have forgotten how to connect.

    As I sit in silence, surrounded by the echoes of melodies that once brought me joy, I can’t help but mourn the loss of the album cover. It was more than just a visual; it was a piece of art that held the spirit of the music within. Now, I am left with a collection of songs, but the stories behind them have vanished like whispers in the wind.

    #MusicMemories #AlbumArt #Loneliness #DigitalEra #LostConnection
    In the quiet corners of my heart, I feel the weight of a world that has lost its colors. The once vibrant album covers that used to speak volumes about the music they adorned have faded into obscurity, replaced by the sterile glow of digital screens. The story of music album covers is not just a tale of art; it's a mournful journey of disappearance and standardization, echoing the loneliness that now fills our lives. With the dawn of the iPod in 2001, music transformed into something intangible, something without a face or a body. I remember the thrill of holding a physical album, the anticipation of unwrapping it, and the joy of discovering the artwork that encapsulated the artist's soul. Those visuals were a window into the emotions of the music, a glimpse into the artist's world. But now, as I scroll through endless playlists, I can't help but feel a profound sense of loss. Each click feels hollow, devoid of the beauty that once was. Where are the stories behind the covers? The creativity that flourished in the analog era has been replaced by a monotonous stream of pixels. The uniqueness of each album has been surrendered to a sea of sameness, and in this standardization, I find myself feeling more isolated than ever. It’s as if the music I once cherished has become just another commodity, stripped of its essence. Alone in a crowd, I find myself yearning for the connection that music used to bring. I miss the days when I could flip through a record store, each cover telling a story, each spine a promise of something beautiful. Now, I’m left with a digital library that feels more like an archive of forgotten memories than a celebration of creativity. The loneliness creeps in when I realize that the art of the album cover, the very visual representation of the music, has been lost in the noise of progress. Every time I play a song, I can’t shake the feeling that I’m missing something vital. Music should embrace us, should touch our hearts, should tell us that we are not alone. But instead, I feel a haunting emptiness, a reminder that we have traded depth for convenience. In this digital age, I search for meaning in a world that seems to have forgotten how to connect. As I sit in silence, surrounded by the echoes of melodies that once brought me joy, I can’t help but mourn the loss of the album cover. It was more than just a visual; it was a piece of art that held the spirit of the music within. Now, I am left with a collection of songs, but the stories behind them have vanished like whispers in the wind. #MusicMemories #AlbumArt #Loneliness #DigitalEra #LostConnection
    L’histoire des pochettes de musique : disparition et standardisation des visuels
    Avec la naissance de l'iPod en 2001, la musique digitale n'a plus ni visage, ni corps ! Comment, alors, réinventer les pochettes d'albums ? L’article L’histoire des pochettes de musique : disparition et standardisation des visuels est apparu en
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  • Why Designers Get Stuck In The Details And How To Stop

    You’ve drawn fifty versions of the same screen — and you still hate every one of them. Begrudgingly, you pick three, show them to your product manager, and hear: “Looks cool, but the idea doesn’t work.” Sound familiar?
    In this article, I’ll unpack why designers fall into detail work at the wrong moment, examining both process pitfalls and the underlying psychological reasons, as understanding these traps is the first step to overcoming them. I’ll also share tactics I use to climb out of that trap.
    Reason #1 You’re Afraid To Show Rough Work
    We designers worship detail. We’re taught that true craft equals razor‑sharp typography, perfect grids, and pixel precision. So the minute a task arrives, we pop open Figma and start polishing long before polish is needed.
    I’ve skipped the sketch phase more times than I care to admit. I told myself it would be faster, yet I always ended up spending hours producing a tidy mock‑up when a scribbled thumbnail would have sparked a five‑minute chat with my product manager. Rough sketches felt “unprofessional,” so I hid them.
    The cost? Lost time, wasted energy — and, by the third redo, teammates were quietly wondering if I even understood the brief.
    The real problem here is the habit: we open Figma and start perfecting the UI before we’ve even solved the problem.
    So why do we hide these rough sketches? It’s not just a bad habit or plain silly. There are solid psychological reasons behind it. We often just call it perfectionism, but it’s deeper than wanting things neat. Digging into the psychologyshows there are a couple of flavors driving this:

    Socially prescribed perfectionismIt’s that nagging feeling that everyone else expects perfect work from you, which makes showing anything rough feel like walking into the lion’s den.
    Self-oriented perfectionismWhere you’re the one setting impossibly high standards for yourself, leading to brutal self-criticism if anything looks slightly off.

    Either way, the result’s the same: showing unfinished work feels wrong, and you miss out on that vital early feedback.
    Back to the design side, remember that clients rarely see architects’ first pencil sketches, but these sketches still exist; they guide structural choices before the 3D render. Treat your thumbnails the same way — artifacts meant to collapse uncertainty, not portfolio pieces. Once stakeholders see the upside, roughness becomes a badge of speed, not sloppiness. So, the key is to consciously make that shift:
    Treat early sketches as disposable tools for thinking and actively share them to get feedback faster.

    Reason #2: You Fix The Symptom, Not The Cause
    Before tackling any task, we need to understand what business outcome we’re aiming for. Product managers might come to us asking to enlarge the payment button in the shopping cart because users aren’t noticing it. The suggested solution itself isn’t necessarily bad, but before redesigning the button, we should ask, “What data suggests they aren’t noticing it?” Don’t get me wrong, I’m not saying you shouldn’t trust your product manager. On the contrary, these questions help ensure you’re on the same page and working with the same data.
    From my experience, here are several reasons why users might not be clicking that coveted button:

    Users don’t understand that this step is for payment.
    They understand it’s about payment but expect order confirmation first.
    Due to incorrect translation, users don’t understand what the button means.
    Lack of trust signals.
    Unexpected additional coststhat appear at this stage.
    Technical issues.

    Now, imagine you simply did what the manager suggested. Would you have solved the problem? Hardly.
    Moreover, the responsibility for the unresolved issue would fall on you, as the interface solution lies within the design domain. The product manager actually did their job correctly by identifying a problem: suspiciously, few users are clicking the button.
    Psychologically, taking on this bigger role isn’t easy. It means overcoming the fear of making mistakes and the discomfort of exploring unclear problems rather than just doing tasks. This shift means seeing ourselves as partners who create value — even if it means fighting a hesitation to question product managers— and understanding that using our product logic expertise proactively is crucial for modern designers.
    There’s another critical reason why we, designers, need to be a bit like product managers: the rise of AI. I deliberately used a simple example about enlarging a button, but I’m confident that in the near future, AI will easily handle routine design tasks. This worries me, but at the same time, I’m already gladly stepping into the product manager’s territory: understanding product and business metrics, formulating hypotheses, conducting research, and so on. It might sound like I’m taking work away from PMs, but believe me, they undoubtedly have enough on their plates and are usually more than happy to delegate some responsibilities to designers.
    Reason #3: You’re Solving The Wrong Problem
    Before solving anything, ask whether the problem even deserves your attention.
    During a major home‑screen redesign, our goal was to drive more users into paid services. The initial hypothesis — making service buttons bigger and brighter might help returning users — seemed reasonable enough to test. However, even when A/B testsshowed minimal impact, we continued to tweak those buttons.
    Only later did it click: the home screen isn’t the place to sell; visitors open the app to start, not to buy. We removed that promo block, and nothing broke. Contextual entry points deeper into the journey performed brilliantly. Lesson learned:
    Without the right context, any visual tweak is lipstick on a pig.

    Why did we get stuck polishing buttons instead of stopping sooner? It’s easy to get tunnel vision. Psychologically, it’s likely the good old sunk cost fallacy kicking in: we’d already invested time in the buttons, so stopping felt like wasting that effort, even though the data wasn’t promising.
    It’s just easier to keep fiddling with something familiar than to admit we need a new plan. Perhaps the simple question I should have asked myself when results stalled was: “Are we optimizing the right thing or just polishing something that fundamentally doesn’t fit the user’s primary goal here?” That alone might have saved hours.
    Reason #4: You’re Drowning In Unactionable Feedback
    We all discuss our work with colleagues. But here’s a crucial point: what kind of question do you pose to kick off that discussion? If your go-to is “What do you think?” well, that question might lead you down a rabbit hole of personal opinions rather than actionable insights. While experienced colleagues will cut through the noise, others, unsure what to evaluate, might comment on anything and everything — fonts, button colors, even when you desperately need to discuss a user flow.
    What matters here are two things:

    The question you ask,
    The context you give.

    That means clearly stating the problem, what you’ve learned, and how your idea aims to fix it.
    For instance:
    “The problem is our payment conversion rate has dropped by X%. I’ve interviewed users and found they abandon payment because they don’t understand how the total amount is calculated. My solution is to show a detailed cost breakdown. Do you think this actually solves the problem for them?”

    Here, you’ve stated the problem, shared your insight, explained your solution, and asked a direct question. It’s even better if you prepare a list of specific sub-questions. For instance: “Are all items in the cost breakdown clear?” or “Does the placement of this breakdown feel intuitive within the payment flow?”
    Another good habit is to keep your rough sketches and previous iterations handy. Some of your colleagues’ suggestions might be things you’ve already tried. It’s great if you can discuss them immediately to either revisit those ideas or definitively set them aside.
    I’m not a psychologist, but experience tells me that, psychologically, the reluctance to be this specific often stems from a fear of our solution being rejected. We tend to internalize feedback: a seemingly innocent comment like, “Have you considered other ways to organize this section?” or “Perhaps explore a different structure for this part?” can instantly morph in our minds into “You completely messed up the structure. You’re a bad designer.” Imposter syndrome, in all its glory.
    So, to wrap up this point, here are two recommendations:

    Prepare for every design discussion.A couple of focused questions will yield far more valuable input than a vague “So, what do you think?”.
    Actively work on separating feedback on your design from your self-worth.If a mistake is pointed out, acknowledge it, learn from it, and you’ll be less likely to repeat it. This is often easier said than done. For me, it took years of working with a psychotherapist. If you struggle with this, I sincerely wish you strength in overcoming it.

    Reason #5 You’re Just Tired
    Sometimes, the issue isn’t strategic at all — it’s fatigue. Fussing over icon corners can feel like a cozy bunker when your brain is fried. There’s a name for this: decision fatigue. Basically, your brain’s battery for hard thinking is low, so it hides out in the easy, comfy zone of pixel-pushing.
    A striking example comes from a New York Times article titled “Do You Suffer From Decision Fatigue?.” It described how judges deciding on release requests were far more likely to grant release early in the daycompared to late in the daysimply because their decision-making energy was depleted. Luckily, designers rarely hold someone’s freedom in their hands, but the example dramatically shows how fatigue can impact our judgment and productivity.
    What helps here:

    Swap tasks.Trade tickets with another designer; novelty resets your focus.
    Talk to another designer.If NDA permits, ask peers outside the team for a sanity check.
    Step away.Even a ten‑minute walk can do more than a double‑shot espresso.

    By the way, I came up with these ideas while walking around my office. I was lucky to work near a river, and those short walks quickly turned into a helpful habit.

    And one more trick that helps me snap out of detail mode early: if I catch myself making around 20 little tweaks — changing font weight, color, border radius — I just stop. Over time, it turned into a habit. I have a similar one with Instagram: by the third reel, my brain quietly asks, “Wait, weren’t we working?” Funny how that kind of nudge saves a ton of time.
    Four Steps I Use to Avoid Drowning In Detail
    Knowing these potential traps, here’s the practical process I use to stay on track:
    1. Define the Core Problem & Business Goal
    Before anything, dig deep: what’s the actual problem we’re solving, not just the requested task or a surface-level symptom? Ask ‘why’ repeatedly. What user pain or business need are we addressing? Then, state the clear business goal: “What metric am I moving, and do we have data to prove this is the right lever?” If retention is the goal, decide whether push reminders, gamification, or personalised content is the best route. The wrong lever, or tackling a symptom instead of the cause, dooms everything downstream.
    2. Choose the MechanicOnce the core problem and goal are clear, lock the solution principle or ‘mechanic’ first. Going with a game layer? Decide if it’s leaderboards, streaks, or badges. Write it down. Then move on. No UI yet. This keeps the focus high-level before diving into pixels.
    3. Wireframe the Flow & Get Focused Feedback
    Now open Figma. Map screens, layout, and transitions. Boxes and arrows are enough. Keep the fidelity low so the discussion stays on the flow, not colour. Crucially, when you share these early wires, ask specific questions and provide clear contextto get actionable feedback, not just vague opinions.
    4. Polish the VisualsI only let myself tweak grids, type scales, and shadows after the flow is validated. If progress stalls, or before a major polish effort, I surface the work in a design critique — again using targeted questions and clear context — instead of hiding in version 47. This ensures detailing serves the now-validated solution.
    Even for something as small as a single button, running these four checkpoints takes about ten minutes and saves hours of decorative dithering.
    Wrapping Up
    Next time you feel the pull to vanish into mock‑ups before the problem is nailed down, pause and ask what you might be avoiding. Yes, that can expose an uncomfortable truth. But pausing to ask what you might be avoiding — maybe the fuzzy core problem, or just asking for tough feedback — gives you the power to face the real issue head-on. It keeps the project focused on solving the right problem, not just perfecting a flawed solution.
    Attention to detail is a superpower when used at the right moment. Obsessing over pixels too soon, though, is a bad habit and a warning light telling us the process needs a rethink.
    #why #designers #get #stuck #details
    Why Designers Get Stuck In The Details And How To Stop
    You’ve drawn fifty versions of the same screen — and you still hate every one of them. Begrudgingly, you pick three, show them to your product manager, and hear: “Looks cool, but the idea doesn’t work.” Sound familiar? In this article, I’ll unpack why designers fall into detail work at the wrong moment, examining both process pitfalls and the underlying psychological reasons, as understanding these traps is the first step to overcoming them. I’ll also share tactics I use to climb out of that trap. Reason #1 You’re Afraid To Show Rough Work We designers worship detail. We’re taught that true craft equals razor‑sharp typography, perfect grids, and pixel precision. So the minute a task arrives, we pop open Figma and start polishing long before polish is needed. I’ve skipped the sketch phase more times than I care to admit. I told myself it would be faster, yet I always ended up spending hours producing a tidy mock‑up when a scribbled thumbnail would have sparked a five‑minute chat with my product manager. Rough sketches felt “unprofessional,” so I hid them. The cost? Lost time, wasted energy — and, by the third redo, teammates were quietly wondering if I even understood the brief. The real problem here is the habit: we open Figma and start perfecting the UI before we’ve even solved the problem. So why do we hide these rough sketches? It’s not just a bad habit or plain silly. There are solid psychological reasons behind it. We often just call it perfectionism, but it’s deeper than wanting things neat. Digging into the psychologyshows there are a couple of flavors driving this: Socially prescribed perfectionismIt’s that nagging feeling that everyone else expects perfect work from you, which makes showing anything rough feel like walking into the lion’s den. Self-oriented perfectionismWhere you’re the one setting impossibly high standards for yourself, leading to brutal self-criticism if anything looks slightly off. Either way, the result’s the same: showing unfinished work feels wrong, and you miss out on that vital early feedback. Back to the design side, remember that clients rarely see architects’ first pencil sketches, but these sketches still exist; they guide structural choices before the 3D render. Treat your thumbnails the same way — artifacts meant to collapse uncertainty, not portfolio pieces. Once stakeholders see the upside, roughness becomes a badge of speed, not sloppiness. So, the key is to consciously make that shift: Treat early sketches as disposable tools for thinking and actively share them to get feedback faster. Reason #2: You Fix The Symptom, Not The Cause Before tackling any task, we need to understand what business outcome we’re aiming for. Product managers might come to us asking to enlarge the payment button in the shopping cart because users aren’t noticing it. The suggested solution itself isn’t necessarily bad, but before redesigning the button, we should ask, “What data suggests they aren’t noticing it?” Don’t get me wrong, I’m not saying you shouldn’t trust your product manager. On the contrary, these questions help ensure you’re on the same page and working with the same data. From my experience, here are several reasons why users might not be clicking that coveted button: Users don’t understand that this step is for payment. They understand it’s about payment but expect order confirmation first. Due to incorrect translation, users don’t understand what the button means. Lack of trust signals. Unexpected additional coststhat appear at this stage. Technical issues. Now, imagine you simply did what the manager suggested. Would you have solved the problem? Hardly. Moreover, the responsibility for the unresolved issue would fall on you, as the interface solution lies within the design domain. The product manager actually did their job correctly by identifying a problem: suspiciously, few users are clicking the button. Psychologically, taking on this bigger role isn’t easy. It means overcoming the fear of making mistakes and the discomfort of exploring unclear problems rather than just doing tasks. This shift means seeing ourselves as partners who create value — even if it means fighting a hesitation to question product managers— and understanding that using our product logic expertise proactively is crucial for modern designers. There’s another critical reason why we, designers, need to be a bit like product managers: the rise of AI. I deliberately used a simple example about enlarging a button, but I’m confident that in the near future, AI will easily handle routine design tasks. This worries me, but at the same time, I’m already gladly stepping into the product manager’s territory: understanding product and business metrics, formulating hypotheses, conducting research, and so on. It might sound like I’m taking work away from PMs, but believe me, they undoubtedly have enough on their plates and are usually more than happy to delegate some responsibilities to designers. Reason #3: You’re Solving The Wrong Problem Before solving anything, ask whether the problem even deserves your attention. During a major home‑screen redesign, our goal was to drive more users into paid services. The initial hypothesis — making service buttons bigger and brighter might help returning users — seemed reasonable enough to test. However, even when A/B testsshowed minimal impact, we continued to tweak those buttons. Only later did it click: the home screen isn’t the place to sell; visitors open the app to start, not to buy. We removed that promo block, and nothing broke. Contextual entry points deeper into the journey performed brilliantly. Lesson learned: Without the right context, any visual tweak is lipstick on a pig. Why did we get stuck polishing buttons instead of stopping sooner? It’s easy to get tunnel vision. Psychologically, it’s likely the good old sunk cost fallacy kicking in: we’d already invested time in the buttons, so stopping felt like wasting that effort, even though the data wasn’t promising. It’s just easier to keep fiddling with something familiar than to admit we need a new plan. Perhaps the simple question I should have asked myself when results stalled was: “Are we optimizing the right thing or just polishing something that fundamentally doesn’t fit the user’s primary goal here?” That alone might have saved hours. Reason #4: You’re Drowning In Unactionable Feedback We all discuss our work with colleagues. But here’s a crucial point: what kind of question do you pose to kick off that discussion? If your go-to is “What do you think?” well, that question might lead you down a rabbit hole of personal opinions rather than actionable insights. While experienced colleagues will cut through the noise, others, unsure what to evaluate, might comment on anything and everything — fonts, button colors, even when you desperately need to discuss a user flow. What matters here are two things: The question you ask, The context you give. That means clearly stating the problem, what you’ve learned, and how your idea aims to fix it. For instance: “The problem is our payment conversion rate has dropped by X%. I’ve interviewed users and found they abandon payment because they don’t understand how the total amount is calculated. My solution is to show a detailed cost breakdown. Do you think this actually solves the problem for them?” Here, you’ve stated the problem, shared your insight, explained your solution, and asked a direct question. It’s even better if you prepare a list of specific sub-questions. For instance: “Are all items in the cost breakdown clear?” or “Does the placement of this breakdown feel intuitive within the payment flow?” Another good habit is to keep your rough sketches and previous iterations handy. Some of your colleagues’ suggestions might be things you’ve already tried. It’s great if you can discuss them immediately to either revisit those ideas or definitively set them aside. I’m not a psychologist, but experience tells me that, psychologically, the reluctance to be this specific often stems from a fear of our solution being rejected. We tend to internalize feedback: a seemingly innocent comment like, “Have you considered other ways to organize this section?” or “Perhaps explore a different structure for this part?” can instantly morph in our minds into “You completely messed up the structure. You’re a bad designer.” Imposter syndrome, in all its glory. So, to wrap up this point, here are two recommendations: Prepare for every design discussion.A couple of focused questions will yield far more valuable input than a vague “So, what do you think?”. Actively work on separating feedback on your design from your self-worth.If a mistake is pointed out, acknowledge it, learn from it, and you’ll be less likely to repeat it. This is often easier said than done. For me, it took years of working with a psychotherapist. If you struggle with this, I sincerely wish you strength in overcoming it. Reason #5 You’re Just Tired Sometimes, the issue isn’t strategic at all — it’s fatigue. Fussing over icon corners can feel like a cozy bunker when your brain is fried. There’s a name for this: decision fatigue. Basically, your brain’s battery for hard thinking is low, so it hides out in the easy, comfy zone of pixel-pushing. A striking example comes from a New York Times article titled “Do You Suffer From Decision Fatigue?.” It described how judges deciding on release requests were far more likely to grant release early in the daycompared to late in the daysimply because their decision-making energy was depleted. Luckily, designers rarely hold someone’s freedom in their hands, but the example dramatically shows how fatigue can impact our judgment and productivity. What helps here: Swap tasks.Trade tickets with another designer; novelty resets your focus. Talk to another designer.If NDA permits, ask peers outside the team for a sanity check. Step away.Even a ten‑minute walk can do more than a double‑shot espresso. By the way, I came up with these ideas while walking around my office. I was lucky to work near a river, and those short walks quickly turned into a helpful habit. And one more trick that helps me snap out of detail mode early: if I catch myself making around 20 little tweaks — changing font weight, color, border radius — I just stop. Over time, it turned into a habit. I have a similar one with Instagram: by the third reel, my brain quietly asks, “Wait, weren’t we working?” Funny how that kind of nudge saves a ton of time. Four Steps I Use to Avoid Drowning In Detail Knowing these potential traps, here’s the practical process I use to stay on track: 1. Define the Core Problem & Business Goal Before anything, dig deep: what’s the actual problem we’re solving, not just the requested task or a surface-level symptom? Ask ‘why’ repeatedly. What user pain or business need are we addressing? Then, state the clear business goal: “What metric am I moving, and do we have data to prove this is the right lever?” If retention is the goal, decide whether push reminders, gamification, or personalised content is the best route. The wrong lever, or tackling a symptom instead of the cause, dooms everything downstream. 2. Choose the MechanicOnce the core problem and goal are clear, lock the solution principle or ‘mechanic’ first. Going with a game layer? Decide if it’s leaderboards, streaks, or badges. Write it down. Then move on. No UI yet. This keeps the focus high-level before diving into pixels. 3. Wireframe the Flow & Get Focused Feedback Now open Figma. Map screens, layout, and transitions. Boxes and arrows are enough. Keep the fidelity low so the discussion stays on the flow, not colour. Crucially, when you share these early wires, ask specific questions and provide clear contextto get actionable feedback, not just vague opinions. 4. Polish the VisualsI only let myself tweak grids, type scales, and shadows after the flow is validated. If progress stalls, or before a major polish effort, I surface the work in a design critique — again using targeted questions and clear context — instead of hiding in version 47. This ensures detailing serves the now-validated solution. Even for something as small as a single button, running these four checkpoints takes about ten minutes and saves hours of decorative dithering. Wrapping Up Next time you feel the pull to vanish into mock‑ups before the problem is nailed down, pause and ask what you might be avoiding. Yes, that can expose an uncomfortable truth. But pausing to ask what you might be avoiding — maybe the fuzzy core problem, or just asking for tough feedback — gives you the power to face the real issue head-on. It keeps the project focused on solving the right problem, not just perfecting a flawed solution. Attention to detail is a superpower when used at the right moment. Obsessing over pixels too soon, though, is a bad habit and a warning light telling us the process needs a rethink. #why #designers #get #stuck #details
    SMASHINGMAGAZINE.COM
    Why Designers Get Stuck In The Details And How To Stop
    You’ve drawn fifty versions of the same screen — and you still hate every one of them. Begrudgingly, you pick three, show them to your product manager, and hear: “Looks cool, but the idea doesn’t work.” Sound familiar? In this article, I’ll unpack why designers fall into detail work at the wrong moment, examining both process pitfalls and the underlying psychological reasons, as understanding these traps is the first step to overcoming them. I’ll also share tactics I use to climb out of that trap. Reason #1 You’re Afraid To Show Rough Work We designers worship detail. We’re taught that true craft equals razor‑sharp typography, perfect grids, and pixel precision. So the minute a task arrives, we pop open Figma and start polishing long before polish is needed. I’ve skipped the sketch phase more times than I care to admit. I told myself it would be faster, yet I always ended up spending hours producing a tidy mock‑up when a scribbled thumbnail would have sparked a five‑minute chat with my product manager. Rough sketches felt “unprofessional,” so I hid them. The cost? Lost time, wasted energy — and, by the third redo, teammates were quietly wondering if I even understood the brief. The real problem here is the habit: we open Figma and start perfecting the UI before we’ve even solved the problem. So why do we hide these rough sketches? It’s not just a bad habit or plain silly. There are solid psychological reasons behind it. We often just call it perfectionism, but it’s deeper than wanting things neat. Digging into the psychology (like the research by Hewitt and Flett) shows there are a couple of flavors driving this: Socially prescribed perfectionismIt’s that nagging feeling that everyone else expects perfect work from you, which makes showing anything rough feel like walking into the lion’s den. Self-oriented perfectionismWhere you’re the one setting impossibly high standards for yourself, leading to brutal self-criticism if anything looks slightly off. Either way, the result’s the same: showing unfinished work feels wrong, and you miss out on that vital early feedback. Back to the design side, remember that clients rarely see architects’ first pencil sketches, but these sketches still exist; they guide structural choices before the 3D render. Treat your thumbnails the same way — artifacts meant to collapse uncertainty, not portfolio pieces. Once stakeholders see the upside, roughness becomes a badge of speed, not sloppiness. So, the key is to consciously make that shift: Treat early sketches as disposable tools for thinking and actively share them to get feedback faster. Reason #2: You Fix The Symptom, Not The Cause Before tackling any task, we need to understand what business outcome we’re aiming for. Product managers might come to us asking to enlarge the payment button in the shopping cart because users aren’t noticing it. The suggested solution itself isn’t necessarily bad, but before redesigning the button, we should ask, “What data suggests they aren’t noticing it?” Don’t get me wrong, I’m not saying you shouldn’t trust your product manager. On the contrary, these questions help ensure you’re on the same page and working with the same data. From my experience, here are several reasons why users might not be clicking that coveted button: Users don’t understand that this step is for payment. They understand it’s about payment but expect order confirmation first. Due to incorrect translation, users don’t understand what the button means. Lack of trust signals (no security icons, unclear seller information). Unexpected additional costs (hidden fees, shipping) that appear at this stage. Technical issues (inactive button, page freezing). Now, imagine you simply did what the manager suggested. Would you have solved the problem? Hardly. Moreover, the responsibility for the unresolved issue would fall on you, as the interface solution lies within the design domain. The product manager actually did their job correctly by identifying a problem: suspiciously, few users are clicking the button. Psychologically, taking on this bigger role isn’t easy. It means overcoming the fear of making mistakes and the discomfort of exploring unclear problems rather than just doing tasks. This shift means seeing ourselves as partners who create value — even if it means fighting a hesitation to question product managers (which might come from a fear of speaking up or a desire to avoid challenging authority) — and understanding that using our product logic expertise proactively is crucial for modern designers. There’s another critical reason why we, designers, need to be a bit like product managers: the rise of AI. I deliberately used a simple example about enlarging a button, but I’m confident that in the near future, AI will easily handle routine design tasks. This worries me, but at the same time, I’m already gladly stepping into the product manager’s territory: understanding product and business metrics, formulating hypotheses, conducting research, and so on. It might sound like I’m taking work away from PMs, but believe me, they undoubtedly have enough on their plates and are usually more than happy to delegate some responsibilities to designers. Reason #3: You’re Solving The Wrong Problem Before solving anything, ask whether the problem even deserves your attention. During a major home‑screen redesign, our goal was to drive more users into paid services. The initial hypothesis — making service buttons bigger and brighter might help returning users — seemed reasonable enough to test. However, even when A/B tests (a method of comparing two versions of a design to determine which performs better) showed minimal impact, we continued to tweak those buttons. Only later did it click: the home screen isn’t the place to sell; visitors open the app to start, not to buy. We removed that promo block, and nothing broke. Contextual entry points deeper into the journey performed brilliantly. Lesson learned: Without the right context, any visual tweak is lipstick on a pig. Why did we get stuck polishing buttons instead of stopping sooner? It’s easy to get tunnel vision. Psychologically, it’s likely the good old sunk cost fallacy kicking in: we’d already invested time in the buttons, so stopping felt like wasting that effort, even though the data wasn’t promising. It’s just easier to keep fiddling with something familiar than to admit we need a new plan. Perhaps the simple question I should have asked myself when results stalled was: “Are we optimizing the right thing or just polishing something that fundamentally doesn’t fit the user’s primary goal here?” That alone might have saved hours. Reason #4: You’re Drowning In Unactionable Feedback We all discuss our work with colleagues. But here’s a crucial point: what kind of question do you pose to kick off that discussion? If your go-to is “What do you think?” well, that question might lead you down a rabbit hole of personal opinions rather than actionable insights. While experienced colleagues will cut through the noise, others, unsure what to evaluate, might comment on anything and everything — fonts, button colors, even when you desperately need to discuss a user flow. What matters here are two things: The question you ask, The context you give. That means clearly stating the problem, what you’ve learned, and how your idea aims to fix it. For instance: “The problem is our payment conversion rate has dropped by X%. I’ve interviewed users and found they abandon payment because they don’t understand how the total amount is calculated. My solution is to show a detailed cost breakdown. Do you think this actually solves the problem for them?” Here, you’ve stated the problem (conversion drop), shared your insight (user confusion), explained your solution (cost breakdown), and asked a direct question. It’s even better if you prepare a list of specific sub-questions. For instance: “Are all items in the cost breakdown clear?” or “Does the placement of this breakdown feel intuitive within the payment flow?” Another good habit is to keep your rough sketches and previous iterations handy. Some of your colleagues’ suggestions might be things you’ve already tried. It’s great if you can discuss them immediately to either revisit those ideas or definitively set them aside. I’m not a psychologist, but experience tells me that, psychologically, the reluctance to be this specific often stems from a fear of our solution being rejected. We tend to internalize feedback: a seemingly innocent comment like, “Have you considered other ways to organize this section?” or “Perhaps explore a different structure for this part?” can instantly morph in our minds into “You completely messed up the structure. You’re a bad designer.” Imposter syndrome, in all its glory. So, to wrap up this point, here are two recommendations: Prepare for every design discussion.A couple of focused questions will yield far more valuable input than a vague “So, what do you think?”. Actively work on separating feedback on your design from your self-worth.If a mistake is pointed out, acknowledge it, learn from it, and you’ll be less likely to repeat it. This is often easier said than done. For me, it took years of working with a psychotherapist. If you struggle with this, I sincerely wish you strength in overcoming it. Reason #5 You’re Just Tired Sometimes, the issue isn’t strategic at all — it’s fatigue. Fussing over icon corners can feel like a cozy bunker when your brain is fried. There’s a name for this: decision fatigue. Basically, your brain’s battery for hard thinking is low, so it hides out in the easy, comfy zone of pixel-pushing. A striking example comes from a New York Times article titled “Do You Suffer From Decision Fatigue?.” It described how judges deciding on release requests were far more likely to grant release early in the day (about 70% of cases) compared to late in the day (less than 10%) simply because their decision-making energy was depleted. Luckily, designers rarely hold someone’s freedom in their hands, but the example dramatically shows how fatigue can impact our judgment and productivity. What helps here: Swap tasks.Trade tickets with another designer; novelty resets your focus. Talk to another designer.If NDA permits, ask peers outside the team for a sanity check. Step away.Even a ten‑minute walk can do more than a double‑shot espresso. By the way, I came up with these ideas while walking around my office. I was lucky to work near a river, and those short walks quickly turned into a helpful habit. And one more trick that helps me snap out of detail mode early: if I catch myself making around 20 little tweaks — changing font weight, color, border radius — I just stop. Over time, it turned into a habit. I have a similar one with Instagram: by the third reel, my brain quietly asks, “Wait, weren’t we working?” Funny how that kind of nudge saves a ton of time. Four Steps I Use to Avoid Drowning In Detail Knowing these potential traps, here’s the practical process I use to stay on track: 1. Define the Core Problem & Business Goal Before anything, dig deep: what’s the actual problem we’re solving, not just the requested task or a surface-level symptom? Ask ‘why’ repeatedly. What user pain or business need are we addressing? Then, state the clear business goal: “What metric am I moving, and do we have data to prove this is the right lever?” If retention is the goal, decide whether push reminders, gamification, or personalised content is the best route. The wrong lever, or tackling a symptom instead of the cause, dooms everything downstream. 2. Choose the Mechanic (Solution Principle) Once the core problem and goal are clear, lock the solution principle or ‘mechanic’ first. Going with a game layer? Decide if it’s leaderboards, streaks, or badges. Write it down. Then move on. No UI yet. This keeps the focus high-level before diving into pixels. 3. Wireframe the Flow & Get Focused Feedback Now open Figma. Map screens, layout, and transitions. Boxes and arrows are enough. Keep the fidelity low so the discussion stays on the flow, not colour. Crucially, when you share these early wires, ask specific questions and provide clear context (as discussed in ‘Reason #4’) to get actionable feedback, not just vague opinions. 4. Polish the Visuals (Mindfully) I only let myself tweak grids, type scales, and shadows after the flow is validated. If progress stalls, or before a major polish effort, I surface the work in a design critique — again using targeted questions and clear context — instead of hiding in version 47. This ensures detailing serves the now-validated solution. Even for something as small as a single button, running these four checkpoints takes about ten minutes and saves hours of decorative dithering. Wrapping Up Next time you feel the pull to vanish into mock‑ups before the problem is nailed down, pause and ask what you might be avoiding. Yes, that can expose an uncomfortable truth. But pausing to ask what you might be avoiding — maybe the fuzzy core problem, or just asking for tough feedback — gives you the power to face the real issue head-on. It keeps the project focused on solving the right problem, not just perfecting a flawed solution. Attention to detail is a superpower when used at the right moment. Obsessing over pixels too soon, though, is a bad habit and a warning light telling us the process needs a rethink.
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  • Wrapping Cloth Objects with Rope in Cinema 4DC4D + Redshift Project Files

    Wrapping Cloth Objects with Rope in Cinema 4DC4D + Redshift Project Files

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    Download and use royalty-free in your own projects!

    #Cinema4D #C4D #Redshift #CGShortcuts
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    Wrapping Cloth Objects with Rope in Cinema 4D⭐C4D + Redshift Project Files
    Wrapping Cloth Objects with Rope in Cinema 4D⭐C4D + Redshift Project Files 👉 / Includes models, materials and render settings. Download and use royalty-free in your own projects! #Cinema4D #C4D #Redshift #CGShortcuts #wrapping #cloth #objects #with #rope
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    Wrapping Cloth Objects with Rope in Cinema 4D⭐C4D + Redshift Project Files
    Wrapping Cloth Objects with Rope in Cinema 4D⭐C4D + Redshift Project Files 👉 https://cgshortcuts.com/wrapping-cloth-objects-with-rope-in-cinema-4d/ Includes models, materials and render settings. Download and use royalty-free in your own projects! #Cinema4D #C4D #Redshift #CGShortcuts
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  • Astronomers Discover Most Powerful Cosmic Explosions Since the Big Bang

    Astronomers have seen the most energetic cosmic explosions yet, a new class of eruptions termed "extreme nuclear transients". These rare events occur when stars at least three times more massive than our Sun are shredded by supermassive black holes. While such cataclysmic events have been known for years, recent flares detected in galactic centres revealed a brightness nearly ten times greater than typical tidal disruption events. The discovery offers new insight into black hole behaviour and energy release in the universe's most extreme environments.Extreme Flares Detected by Gaia and ZTF Reveal Most Energetic Black Hole Events YetAs per a June 4 Science Advances report, lead researcher Jason Hinkle of the University of Hawaii's Institute for Astronomy noticed two mysterious flares from galactic cores in 2016 and 2018, recorded by the European Space Agency's Gaia spacecraft. The scientists recognised them as ENTs because a third one, observed in 2020 by the Zwicky Transient Facility, has similar characteristics. These outbursts gave out more energy than supernovae did, and they lasted much longer than short bursts typically seen during tidal disruption events.Tidal disruption events such as Gaia18cdj are associated with flares that are explosive and long-duration. These explosions are greater than 100 times as intense as supernovas and have been occurring for millions to billions of years. They make ENTs an uncommon, energetic, and long-lived event that cosmic explorers might use.The ENTs' brightness lets astronomers focus on distant galactic centres, as well as the feeding habits of black holes in the universe's early days. "These flares are shining a light on the growth of supermassive black holes in the universe," mentioned co-author Benjamin Shappee, a Hubble fellow at IfA. Their visibility on large scales provides a statistical tool for cosmological studies in the future.Such findings are expanding what astrophysicists know about ENTs-but researchers stress that they're not done wrapping their heads around these mysterious objects just yet. The results might also advance new models of how black holes and stars work together and how energy moves across galaxies. Given upcoming missions with better instruments, the discovery of more ENTs will help astronomers learn even more about these violent events in the cosmos.

    For the latest tech news and reviews, follow Gadgets 360 on X, Facebook, WhatsApp, Threads and Google News. For the latest videos on gadgets and tech, subscribe to our YouTube channel. If you want to know everything about top influencers, follow our in-house Who'sThat360 on Instagram and YouTube.

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    #astronomers #discover #most #powerful #cosmic
    Astronomers Discover Most Powerful Cosmic Explosions Since the Big Bang
    Astronomers have seen the most energetic cosmic explosions yet, a new class of eruptions termed "extreme nuclear transients". These rare events occur when stars at least three times more massive than our Sun are shredded by supermassive black holes. While such cataclysmic events have been known for years, recent flares detected in galactic centres revealed a brightness nearly ten times greater than typical tidal disruption events. The discovery offers new insight into black hole behaviour and energy release in the universe's most extreme environments.Extreme Flares Detected by Gaia and ZTF Reveal Most Energetic Black Hole Events YetAs per a June 4 Science Advances report, lead researcher Jason Hinkle of the University of Hawaii's Institute for Astronomy noticed two mysterious flares from galactic cores in 2016 and 2018, recorded by the European Space Agency's Gaia spacecraft. The scientists recognised them as ENTs because a third one, observed in 2020 by the Zwicky Transient Facility, has similar characteristics. These outbursts gave out more energy than supernovae did, and they lasted much longer than short bursts typically seen during tidal disruption events.Tidal disruption events such as Gaia18cdj are associated with flares that are explosive and long-duration. These explosions are greater than 100 times as intense as supernovas and have been occurring for millions to billions of years. They make ENTs an uncommon, energetic, and long-lived event that cosmic explorers might use.The ENTs' brightness lets astronomers focus on distant galactic centres, as well as the feeding habits of black holes in the universe's early days. "These flares are shining a light on the growth of supermassive black holes in the universe," mentioned co-author Benjamin Shappee, a Hubble fellow at IfA. Their visibility on large scales provides a statistical tool for cosmological studies in the future.Such findings are expanding what astrophysicists know about ENTs-but researchers stress that they're not done wrapping their heads around these mysterious objects just yet. The results might also advance new models of how black holes and stars work together and how energy moves across galaxies. Given upcoming missions with better instruments, the discovery of more ENTs will help astronomers learn even more about these violent events in the cosmos. For the latest tech news and reviews, follow Gadgets 360 on X, Facebook, WhatsApp, Threads and Google News. For the latest videos on gadgets and tech, subscribe to our YouTube channel. If you want to know everything about top influencers, follow our in-house Who'sThat360 on Instagram and YouTube. Gadgets 360 Staff The resident bot. If you email me, a human will respond. More #astronomers #discover #most #powerful #cosmic
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    Astronomers Discover Most Powerful Cosmic Explosions Since the Big Bang
    Astronomers have seen the most energetic cosmic explosions yet, a new class of eruptions termed "extreme nuclear transients" (ENTs). These rare events occur when stars at least three times more massive than our Sun are shredded by supermassive black holes. While such cataclysmic events have been known for years, recent flares detected in galactic centres revealed a brightness nearly ten times greater than typical tidal disruption events. The discovery offers new insight into black hole behaviour and energy release in the universe's most extreme environments.Extreme Flares Detected by Gaia and ZTF Reveal Most Energetic Black Hole Events YetAs per a June 4 Science Advances report, lead researcher Jason Hinkle of the University of Hawaii's Institute for Astronomy noticed two mysterious flares from galactic cores in 2016 and 2018, recorded by the European Space Agency's Gaia spacecraft. The scientists recognised them as ENTs because a third one, observed in 2020 by the Zwicky Transient Facility, has similar characteristics. These outbursts gave out more energy than supernovae did, and they lasted much longer than short bursts typically seen during tidal disruption events.Tidal disruption events such as Gaia18cdj are associated with flares that are explosive and long-duration. These explosions are greater than 100 times as intense as supernovas and have been occurring for millions to billions of years. They make ENTs an uncommon, energetic, and long-lived event that cosmic explorers might use.The ENTs' brightness lets astronomers focus on distant galactic centres, as well as the feeding habits of black holes in the universe's early days. "These flares are shining a light on the growth of supermassive black holes in the universe," mentioned co-author Benjamin Shappee, a Hubble fellow at IfA. Their visibility on large scales provides a statistical tool for cosmological studies in the future.Such findings are expanding what astrophysicists know about ENTs-but researchers stress that they're not done wrapping their heads around these mysterious objects just yet. The results might also advance new models of how black holes and stars work together and how energy moves across galaxies. Given upcoming missions with better instruments, the discovery of more ENTs will help astronomers learn even more about these violent events in the cosmos. For the latest tech news and reviews, follow Gadgets 360 on X, Facebook, WhatsApp, Threads and Google News. For the latest videos on gadgets and tech, subscribe to our YouTube channel. If you want to know everything about top influencers, follow our in-house Who'sThat360 on Instagram and YouTube. Gadgets 360 Staff The resident bot. If you email me, a human will respond. More
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  • opng designs exhibition for Dior facing Noguchi Sunken Garden

    An immersive architectural installation designed by the architecture and design firm opng is staged inside the former Chase Manhattan banking hall, a 1961 structure by SOM. House of Craft x Dior is a show of haute couture works from the fashion house’s archives. Presented by UBS and Dior, and curated by fashion icon Carine Roitfeld, the clothing and accessories are  brought to life in this historic setting. The exhibition orbits around Isamu Noguchi’s 1964 Sunken Garden, a serene, geometric landscape of basalt stones, water, and abstracted nature. opng’s design uses the site’s tranquility, creating a mirrored, “maze-like” architecture that visually connects the haute couture on display with Noguchi’s own sculptural language.

    The exhibition spans 30,000 square feet, wrapping visitors in a network of 10-foot mirrored walls. These surfaces reflect and multiply Dior gowns, accessories, process sketches, and photographs. 
    The exhibition includes a striking 60-foot “Silhouette Wall” featuring Brigitte Niedermair’s portraits of each designer’s most defining creations.House of Craft x Dior pays tribute to all seven of Dior’s creative directors—Christian Dior, Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons, and Maria Grazia Chiuri—as well as menswear designer Kim Jones. Each director’s vision is represented through silhouettes, displayed alongside behind-the-scenes materials that offer insight into the meticulousness of couture.

    The exhibition includes a striking 60-foot “Silhouette Wall” featuring Brigitte Niedermair’s portraits of each designer’s most defining creations. A 24-foot worktable is surrounded by videos of couturiers from Dior’s Haute Couture House describing the construction process of making Dior’s most recognizable garments.
    Noguchi’s Sunken Garden makes for a historic setting for the fashion exhibitionCommissioned by Chase in 1961, Noguchi’s Sunken Garden embodies a midcentury belief in art’s ability to humanize the urban landscape. By placing Dior’s intricate couture into this minimalist, tranquil site, UBS and opng initiates a conversation between eras, disciplines, and design philosophies.
    opng’s exhibition design includes tables and rectangular vitrines that can be hung on the walls.The exhibition is part of UBS’s ongoing House of Craft initiative, which launched in 2024. House of Craft x Dior on view from June 6 to June 8.
    #opng #designs #exhibition #dior #facing
    opng designs exhibition for Dior facing Noguchi Sunken Garden
    An immersive architectural installation designed by the architecture and design firm opng is staged inside the former Chase Manhattan banking hall, a 1961 structure by SOM. House of Craft x Dior is a show of haute couture works from the fashion house’s archives. Presented by UBS and Dior, and curated by fashion icon Carine Roitfeld, the clothing and accessories are  brought to life in this historic setting. The exhibition orbits around Isamu Noguchi’s 1964 Sunken Garden, a serene, geometric landscape of basalt stones, water, and abstracted nature. opng’s design uses the site’s tranquility, creating a mirrored, “maze-like” architecture that visually connects the haute couture on display with Noguchi’s own sculptural language. The exhibition spans 30,000 square feet, wrapping visitors in a network of 10-foot mirrored walls. These surfaces reflect and multiply Dior gowns, accessories, process sketches, and photographs.  The exhibition includes a striking 60-foot “Silhouette Wall” featuring Brigitte Niedermair’s portraits of each designer’s most defining creations.House of Craft x Dior pays tribute to all seven of Dior’s creative directors—Christian Dior, Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons, and Maria Grazia Chiuri—as well as menswear designer Kim Jones. Each director’s vision is represented through silhouettes, displayed alongside behind-the-scenes materials that offer insight into the meticulousness of couture. The exhibition includes a striking 60-foot “Silhouette Wall” featuring Brigitte Niedermair’s portraits of each designer’s most defining creations. A 24-foot worktable is surrounded by videos of couturiers from Dior’s Haute Couture House describing the construction process of making Dior’s most recognizable garments. Noguchi’s Sunken Garden makes for a historic setting for the fashion exhibitionCommissioned by Chase in 1961, Noguchi’s Sunken Garden embodies a midcentury belief in art’s ability to humanize the urban landscape. By placing Dior’s intricate couture into this minimalist, tranquil site, UBS and opng initiates a conversation between eras, disciplines, and design philosophies. opng’s exhibition design includes tables and rectangular vitrines that can be hung on the walls.The exhibition is part of UBS’s ongoing House of Craft initiative, which launched in 2024. House of Craft x Dior on view from June 6 to June 8. #opng #designs #exhibition #dior #facing
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    opng designs exhibition for Dior facing Noguchi Sunken Garden
    An immersive architectural installation designed by the architecture and design firm opng is staged inside the former Chase Manhattan banking hall, a 1961 structure by SOM. House of Craft x Dior is a show of haute couture works from the fashion house’s archives. Presented by UBS and Dior, and curated by fashion icon Carine Roitfeld, the clothing and accessories are  brought to life in this historic setting. The exhibition orbits around Isamu Noguchi’s 1964 Sunken Garden, a serene, geometric landscape of basalt stones, water, and abstracted nature. opng’s design uses the site’s tranquility, creating a mirrored, “maze-like” architecture that visually connects the haute couture on display with Noguchi’s own sculptural language. The exhibition spans 30,000 square feet, wrapping visitors in a network of 10-foot mirrored walls. These surfaces reflect and multiply Dior gowns, accessories, process sketches, and photographs.  The exhibition includes a striking 60-foot “Silhouette Wall” featuring Brigitte Niedermair’s portraits of each designer’s most defining creations. (Naho Kubota/Courtesy opng) House of Craft x Dior pays tribute to all seven of Dior’s creative directors—Christian Dior, Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons, and Maria Grazia Chiuri—as well as menswear designer Kim Jones. Each director’s vision is represented through silhouettes, displayed alongside behind-the-scenes materials that offer insight into the meticulousness of couture. The exhibition includes a striking 60-foot “Silhouette Wall” featuring Brigitte Niedermair’s portraits of each designer’s most defining creations. A 24-foot worktable is surrounded by videos of couturiers from Dior’s Haute Couture House describing the construction process of making Dior’s most recognizable garments. Noguchi’s Sunken Garden makes for a historic setting for the fashion exhibition (Naho Kubota/Courtesy opng) Commissioned by Chase in 1961, Noguchi’s Sunken Garden embodies a midcentury belief in art’s ability to humanize the urban landscape. By placing Dior’s intricate couture into this minimalist, tranquil site, UBS and opng initiates a conversation between eras, disciplines, and design philosophies. opng’s exhibition design includes tables and rectangular vitrines that can be hung on the walls. (Naho Kubota/Courtesy opng) The exhibition is part of UBS’s ongoing House of Craft initiative, which launched in 2024. House of Craft x Dior on view from June 6 to June 8.
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