The recently opened Dostoevsky Station in the Moscow subway has all of that, and more.

One of a series of metro stations named after Russian literary heroes, Dostoevskaya features murals that depict scenes from his famous novels such as Brothers Karamazov, The Idiot and Crime and Punishment, as well as a stern portrait of Fyodor himself.

The wall art is austere, featuring black and white silhouettes of the books’ characters in action: a man is raising a gun to his head. Another holds an ax above his, waiting to bring it down on a women nearby.

These are the stories told in Dostoevsky’s novels, which explore heavy themes of sanity within society.

This is not out of the ordinary for Russian literature; from Tolstoy to Pushkin to Lermontov, Russian writers have gained fame exploring suffering, emotional paralysis and loss.

Dostoevskaya’s opening this spring was delayed at least a month, possibly in part because of an uproar in the Russian blogosphere over whether station’s design was too depressing. Some psychologists claimed it would become a magnet for suicides, which are apparently quite common in the Moscow metro.

There is no doubt that art and architecture can affect mood. From the view out your window to the height of your ceilings to the color of your walls, design will factor into your internal temperament.

Can public art be too sombre? Does it need to be uplifting to be worthwhile?

Certainly a great majority of the myriad outdoor murals that dot Philadelphia are full of positive inspiration, with imagery of colorful flora, fanciful dancers and symbols of pride and learning. And most of the other Moscow metro stations are decorated brightly, be they named for an embittered author or not.

In contrast, we have  Antony Gormley’s recent Event Horizon, which featured lifelike statues posed on rooftops over Madison Square Park and frightened passersby into calling the NYPD to report suicide jumpers. In 2006 a statue of haggard horse riders commemorating Polish suffering that had graced Boston Commons for a quarter-century was abruptly moved; some claim because it was too depressing.

In fairness, there has been a heightened sense of danger on the Moscow metro since two suicide bombings killed close to 40 people this past March. The reported mastermind of these attacks was recently killed in a shoot-out with Russian security forces.

But the art does compliment the minimalist palette and clean, large lines of the station’s architecture.

As the artist, Ivan Nikolayev, said, “What did you want? Scenes of dancing? Dostoevsky does not have them.”

And as Dostoevsky wrote in The Possessed: “We are all happy, if we but knew it.”

[via NPR]

Paul Pounds took his grandfather’s 1925 Elgin pocketwatch and converted it into a fully functional digital timepiece.

The time is not displayed as cyphers, however.

The face is a beautifully designed set of LEDs that mimic analog clock hands with concentric circles of light.

Gorgeous not only in looks, but also in user interface, the watch boasts an audible “tick” for each second, easy time-setting via the stem, and a custom alarm.

After 15 seconds, the watch goes into standby mode to save batteries.

When you open the face, it lights up again.

At each minute interval, it sets off a swirl of LED color!

Some additional deets: Paul wrote the program in C (and fit it in a 2KB code-size limit), used 133 surface mount LEDs, and engraved a tiger eye under the micro-chip.

Beautiful.

[h/t @bre]

The 20th century in the US saw a burgeoning industrial design atmosphere. From automated dishwashers and automobiles to rockets and computers, our society was fundamentally changed by these lasting engineering designs.

But quite a few others were suggested that didn’t make the cut. Looking back now, they seem silly, even absurd. But they were much more in keeping with their time.

What will our future counterparts laugh at? Segways? “Smokeless” cigarettes? Swiffers? Will they seem as foolish as some of these?

Some of my favorites from the Life Magazine piece follow.

Pack of cigarettes holder. Bet that gives a nice rush.

Curved barrel shotgun, for shooting around corners. As Life puts it, perfect for the man who “shoots first, looks where he’s shooting later.”

Artificial breasts with a built-in heartbeat. From Japan. A “sleeping aid” for children? Ahem.

While certainly only one of many of L. Ron Hubbard’s ridiculous inventions, this electrometer is being used to determine if vegetables feel pain. What was the conclusion? Tomatoes “scream when sliced.” Of course they do. Perhaps this was the same device that led Hubbard to discover that Xenu brought humans to earth 75 million years ago in DC-8 airliner spacecraft.

The shower hood. If you want to keep your hair dry and play Star Wars in the shower at the same time.

There are more. And I guess there always will be.

[via @phi162 & Cakehead Loves Evil]

Founded in 2000 — or 02000, as they like to write, the project published their first edition Rosetta Disk in 2008.

The disk holds 1500 languages from around the world.

Made of double-sided micro-etched nickel, the disk is a visual archive, not a digital one. Not format-dependent; all one needs to read the disk is magnification. Like microfiche, but with much more density.

One side of the disk is a guide to the main archive on the reverse. It is etched with a central image of the earth and a message written in 8 major languages:

Languages of the World: This is an archive of over 1,500 human languages assembled in the year 02008 C.E. Magnify 1,000 times to find over 13,000 pages of language documentation.

The message is printed in concentric spirals, both maximizing the number of people who will be able to read something immediately upon picking up the disk, as well as implying how to use it – magnify to see more.

Five actual disks have been produced, which come in a spherical stainless steel/glass container intended to protect and showcase the disk for millenia to come.

Now, the disk’s contents are available to the general public on a $15 DVD, or, thanks to Kurt Bollacker, in an interactive viewer on the web.

Contents range from descriptions of linguistic to vocabulary lists to transcribed texts or oral narratives.

At the very least, the Rosetta Disk provides an informative overview of human linguistic diversity in the 21st century. However, it may do much more.

[h/t @bre]

Humans are very visually oriented.

Organizing information into a well-designed schematic allows us to digest huge amounts of information, and can reveal otherwise unseen connections or structures.

This is a relatively new but exploding field. The New York Times has a great team who regularly create fantastic visualizations to accompany and elucidate articles, and even has a visualization lab, where users can access ready-made data sets and design and submit their own.

Here, Fry has created an interactive visualization of the changes between Charles Darwin’s six editions of On the Origin of the Species, his famous manifesto on the theory of evolution.

Starting from the first edition, changes are animated into existence, differentiated by color. By the end of the final edition, the resulting image looks almost like abstract art, in the vein of Mondrian.

But this is information design, and rolling over any part of the illegible multi-colored columns will highlight and enlarge the text, allowing the user to read through it, and view the actual changes.

The data is sourced from the Complete Work of Charles Darwin Online, an impressive body of his publications, all digitized by Dr. John van Wyhe & team.

It’s an exciting time in data modeling, and in thought design.

[h/t @mkgold @clioweb @jcmeloni]

Last December the Philadelphia Streets Dept. ripped up the sidewalk corners in much of the Wash West/Society Hill area, one block at a time.

New signal boxes were erected and cast into the concrete, in anticipation of an (ongoing?) $12 million project to deploy digitized traffic signals throughout the city.

Because of a Federal DHS mandate to include future surveillance equipment along with the lighting equipment, the new signal boxes are huge, probably 3-4 times the size of the previous, pole-mounted ones.

As the Inquirer’s Inga Saffron points out with her usual acumen, these empty boxes look like huge brown refrigerators, and are an urban design nightmare in our neighborhoods of rowhouses.

On her blog she highlighted a few of the more egregiously placed metal monoliths, and noted that the flat sides were an empty slate almost begging for graffiti.

A prime example was this one, smack up against the historic house owned by Marjorie Amrom.

It appears that Amrom’s gone and had an artist paint a very attractive and colorful trompe l’oeil, or mini mural, all over the offending box.

Can we get the Mural Arts Program to commission a project to paint the rest?

UPDATE: Inga Saffron wrote another follow-up post, highlighting this box. She mentions that it might be “going a little too far” to paint all of the signal boxes like this. And a commenter points out that getting neighborhoods to agree on a design might “take as long as fixing the city budget.”

I still think it’s worth a try.

Don’t think I ever read the historical sign that is currently posted in the Avenue, though. These signs, erected by the Pennsylvania Historical and Museum Commission since 1946, are studies in idea condensation.

Way before Twitter, the designers for these signs did a pretty great job compressing history, philosophy, biography and more into signs that measure approximately 1ft x 2ft and hold less than 250 characters.

This one holds a gem of a sentence. One that deserves more publicity than it’s small alleyway allows.

Artists found that social interaction enhanced the creation and appreciation of art.

Still does. Still does. Still going strong.

This makes for wonderfully interesting juxtapositions of the brightly colored plastic rectangles with the old, graying, non-uniform stones and cement of old structures.

Jan has created this artwork — which, in true German-language style, he calls “dispatchwork” — to several cities, including Tel Aviv, Israel, Bocchignano, Italy and Berlin, Germany.

The work has a very different feel in each of the locales, and all are intriguing.

In Berlin, most of the patchwork was done on bullet holes and destruction left-over from World War II. In Italy, near Rome, I imagine the decay was simply from age. In Israel, the artist was specifically invited to “repair” some old walls by the curators of Darom Gallery in Tel Aviv.

It would be fun to revisit the sites in 50 years and see the relative effects of time on the newer plastic vs. the old stone.

UPDATE: Where could we do this in Philly?

[Via Wired and Twittter]

If I had gone to school for design, no doubt I  would have come across this famous quote from Dieter Rams, one of the most influential industrial designers of modern society. Alas,  it has taken me this long to discover his wonderfully succinct description of what is also my own design philosphy: ”Less, but better.”

Dieter Rams, as head of design at Braun from the early 60′s into the 90′s, created many of the iconic products of that era, including the record player, radio, calculator and juicer designs we are all completely familiar with today.

Johnathan Ive, designer at Apple, is a big Dieter Rams fan, and it has been pointed out that many of Apple’s products, from their computers to iPods, draw from and are very similar to Rams’ Braun objects. The calculator in the iPhone is almost a replica of the his famous Braun calculator.

In the 70′s or so, Rams began thinking about sustainable development. From Vitsoe’s website, for whom he designed furniture:

Dieter Rams was becoming increasingly concerned by the state of the world around him – “an impenetrable confusion of forms, colours and noises.” Aware that he was a significant contributor to that world, he asked himself an important question: is my design good design?

And so, his Ten Commandments for Good Design:

Good design is innovative.
Good design makes a product useful.
Good design is aesthetic.
Good design helps a product to be understood.
Good design is unobtrusive.
Good design is honest.
Good design is durable.
Good design is thorough to the last detail.
Good design is concerned with the environment.
Good design is as little design as possible.

Each commandment has an explanatory blurb to go along with it, too. Check it. Live by it.

Single-lane Camac street is also known as “Avenue of the Artists”.  Historically it was home to many important artist clubs and organizations, such as the Philadelphia Sketch Club, started in 1860 and led by Thomas Eakins.

It is surmised that the street was paved with wood instead of the traditional stones or granite belgian blocks to help mute the sounds of the horses’ hooves as traffic passed by the artist gatherings.

These square blocks of wood were re-discovered in the late 1980′s during a street resurfacing project, and the city decided to repave this one section with wooden replicas of the originals.

The wooden blocks are currently being replaced, which needs to happen every several years, as they begin to disintegrate and rot. Wooden block streets are attractive, but not enitrely practical.

It should be pointed out, however, that asphalt also requires replacement or resurfacing relatively often.

Though there don’t seem to be other preserved or refurbished streets like this in this country, wooden cobblestones can be found in historical sites around the world, from Prague to Havana.