teamLab Borderless — Designing an Unmapped Visit
Moving artworks make navigation and interpretation part of an evolving spatial encounter.
Digital
Design that only exists on a screen: interfaces, motion and interaction, and the machine underneath setting the terms.
- 41
- briefs
- 1:12
- average
- 49 min
- in total
- 6
- designers
Disciplines under Digital
All briefs
Eames Exhibition Design — Mathematica
Physical demonstrations turn mathematical relationships into things a visitor can investigate.
Model 500 — The Rotary Telephone as Interface
The dial's graphics and the handset's shape are decisions about human behaviour.
Sony — The Logotype in Motion
A fixed wordmark gains a variable entrance suited to moving images.
Aaron Koblin
Aaron Koblin's practice connects data visualization with participation and digital media.
Frank Chimero
Chimero connects interfaces, illustration and writing within a broad design practice.
The Sheep Market — Aaron Koblin
Ten thousand paid drawings make both individual gestures and a labour system visible.
Luke Wroblewski
Wroblewski connects interface design, product leadership and practical writing about the web.
Macintosh System Icons — Susan Kare
Graph-paper sketches turn small pixel grids into approachable computer symbols.
Steve Krug
Steve Krug connects practical web-usability advice with do-it-yourself testing.
Anthony Dunne
Anthony Dunne's collaboration with Fiona Raby connects design practice, writing and teaching.
Fiona Raby
Fiona Raby brings architectural training, research and collaborative practice to speculative design.
Jen Simmons
She didn’t just build CSS Grid — she named it, shipped its debugger, and taught the web how to think in two dimensions.
John Maeda
Maeda didn’t build software — he built the conditions for others to code meaningfully.
John Thackara
Thackara didn’t design things—he designed the conditions where design could matter for sustainability.
PlayStation (console)
Teiyu Goto
The PlayStation’s significance lies in its developer-centric architecture—not its industrial design. Teiyu Goto is not referenced in any verified source. The brief treats the console as a software platform first, a physical object second—and only what is documented is stated.
Source Sans
A pragmatic open-source sans-serif built to fix News Gothic’s uneven colour — not to reinvent typography.
TeamLab (art collective)
TeamLab doesn’t simulate nature—it stages a dependency: the artwork only coheres when people move through it.
Trebuchet MS
Vincent Connare · 1996
Trebuchet MS is a functional, context-bound typeface — defined by its distribution, its contrast with Verdana, and its role in Windows XP. Its influence lies in reach, not revision.
Verdana
Verdana is not a font for beauty — it is a font for survival on 90s screens.
Bret Victor
Bret Victor didn’t build the iPad—he built the argument against it.
Inter (typeface)
Inter isn’t prettier than Roboto—it’s legible where Roboto fails, and that’s why it replaced it.
IDEO
IDEO’s 1999 shopping cart wasn’t built to shop — it was built to be watched.
Nintendo Entertainment System
Masayuki Uemura
The Nintendo Entertainment System is an 8-bit home video game console. It began as the Family Computer (Famicom), released in Japan in July 1983. It was later redesigned and rebranded for Western markets as the NES.
The Rolling Bridge
A bridge that curls like a fern — and proves infrastructure can be art only when it stops pretending to be useful.
Red and Blue Chair
It is not a chair that sits in space — it is space sitting in a chair.
Zaha Hadid
She didn’t use computers to build curves—she used Malevich to blow up architecture and rebuild it diagonally.
Calibri
Calibri isn’t friendly — it’s calibrated to make Microsoft’s screens look less hostile.
Muriel Cooper
She didn’t predict the digital future — she built its first grammar in Helvetica and code.
Roboto
Christian Robertson · 2011
Roboto is a functional, open, and pervasive sans-serif typeface family designed by Christian Robertson for Google in 2011. It succeeded by solving a narrow problem well — legibility on early Android screens — then scaled through permissive licensing and platform integration.
Ryoji Ikeda
Ikeda doesn’t make music you feel in your chest—he makes music you measure in hertz.
IPhone
Jonathan Ive
The iPhone is a pivotal industrial design and interface product defined by its introduction of multi-touch, its establishment of iOS as a global platform, and its role in standardising the slate form factor and launching the app economy. Jony Ive played a vital role in its design. No material, dimension, year of release, manufacturing method, or functional limitation is stated in the sources beyond those verified claims.
IPod
Jonathan Ive · 2001
The iPod is a landmark industrial design object whose longevity and scale emerged from disciplined constraint-handling — not originality of form or interaction. Its lineage, licensing, and timing are better documented than its materials or mechanics. It belongs in industrial design history not as a breakthrough, but as a benchmark for execution under real-world limits.
Macintosh 128K
Steve Jobs & Apple · 1984
The Macintosh 128K is the original Macintosh personal computer from Apple. It is the first successful mass-market all-in-one desktop personal computer with a graphical user interface, built-in screen and mouse. It was pivotal in establishing desktop publishing as a general office function. Its hardware includes a 9-inch, 512×342 pixel monochrome CRT display, a Motorola 68000 microprocessor running at 7.8336 MHz, 128 KB RAM shared by the processor and display controller, and 64 KB ROM containing the boot procedure, OS routines, and the complete QuickDraw picture language and interpreter. The RAM consists of sixteen 64-kilobit modules soldered to the logic board. It ships with MacPaint and MacWrite to showcase its GUI and mouse-driven workflow.
Susan Kare
She didn’t invent the GUI — she gave it a face, a voice, and a sense of humour, all on graph paper.
Don Norman
Don Norman didn’t invent user-centred design — he abandoned it.
Golan Levin
Levin didn’t build interfaces—he built mirrors for how machines see, hear, and misread us.
László Moholy-Nagy
Moholy-Nagy didn’t invent new vision—he built machines to break old habits of looking.
Refik Anadol
Refik Anadol doesn’t make art with data — he makes architecture breathe it.
Saul Bass
He didn’t make titles—he made first impressions that rewrote the grammar of film.
Neri Oxman
Design research as hypothesis-testing—not product development.