MoMA Acquires “@” Symbol.

At symbol 4.sm 1 MoMA Acquires @ Symbol.Original post by: Cliff Kuang – Mon Mar 22, 2010 – What can I say, it seems in it’s infinite has added this historical symbol to it’s halls.  Pretty interesting how simple things we see, and use each and every day, have a very rich a diverse history.  See: http://www.moma.org/explore/inside_out/2010/03/22/at-moma/

The only reason I decided to post this, is that in my , it is a pretty about how a symbol/word can have a long, interesting, and diverse history.  has many of these kinds of jewels of intricacy that make for , this is one of them.  Some things in design are formed from things as simple as the need to relate a simple singular relationship.  The “at” symbol does that.  Every- you see this word, you know what it means.  It has several uses in the modern age, and now takes on a greater role in all of our lives. So when you see this symbol again, maybe you will not take it for granted, how much language/symbols affect/permeate our everyday life.  Enjoy.

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William McDonough: Designing Cradle to Cradle

and asks what our buildings and products would look like if designers took into account “all children, all species, for all .”

In , McDonough and Braungart argue that the conflict between industry and the environment is not an indictment of but an outgrowth of purely opportunistic . The of products and manufacturing systems growing out of the reflected the spirit of the day-and yielded a host of unintended yet tragic consequences.

“To use something as elegant as a tree. Imagine this design assignment: design something that makes oxygen, sequesters carbon, fixes nitrogen, distills water, accrues solar as fuel, makes complex sugars and food, creates microclimates, changes colors with the seasons, and self-replicates, then say why don’t we knock that down and write on it.”
- William McDonough – 2007

Today, with our growing knowledge of the living earth, design can reflect a new spirit. In fact, the authors write, when designers employ the intelligence of natural systems—the effectiveness of nutrient cycling, the abundance of the sun’s energy—they can create products, industrial systems, buildings, even regional plans that allow nature and commerce to fruitfully co-exist.

Cradle to Cradle maps the lineaments of McDonough and Braungart’s new design paradigm, offering practical steps on how to innovate within today’s economic environment. Part social history, part green business primer, part design manual, the book makes plain that the re-invention of human industry is not only within our grasp, it is our best hope for a future of sustaining .

In addition to describing the hopeful, nature-inspired design principles that are making industry both prosperous and sustainable, the book itself is a physical symbol of the changes to come. It is printed on a synthetic ‘paper,’ made from plastic resins and inorganic fillers, designed to look and feel like top quality paper while also being waterproof and rugged. And the book can be easily recycled in localities with systems to collect polypropylene, like that in yogurt containers. This ‘treeless’ book points the way toward the day when synthetic books, like many other products, can be used, recycled, and used again without losing any material quality—in cradle to cradle cycles.

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